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Johnny Rockets started in the<|fim_middle|> milkshakes crunchy, that's why I typically go for the plain ones - but i'll try it too. | US in 1986 and even though there were branches in Boston and Atlanta (where I lived for years), I never was interested in checking it out. Even when they opened in Lagos, (maybe 2 years ago), I was just like "Enh, whatever." I think that it doesn't occur to me to go out to a restaurant just to eat a burger - oh no, wait, Olivia's Cafe in Lekki used to have this amazing burger and sadly they overhauled their menu. Johnny Rockets plans to open 5 restaurants in Nigeria.
Anyways, when you walk into Johnny Rockets, it's almost like you're transported back in time - specifically the 50's-60's in America. I wanted to start singing the Happy Days theme song when I walked in, lol.
I liked the attention to detail, for instance, this little jukebox thingy on each table. Even though they were just props, classic American tunes were being played in the background.
Another thing I found cool was the bar seating. If Cakes wasn't so tired, I wouldn't have minded having my meal right there.
And I thought it was pretty nifty to watch the burgers and other food being prepared.
I appreciate the fact that their menu is available online, so you can make your choice before o=you get there. We placed our orders at the bar because some of the empty booths were yet to be cleaned. I would say it took a little too long for the staff to clean up, but apparently a lot of the workers on schedule for Sunday didn't show up because of Election Tension. We eventually got seated and waited for our food to come.
We ordered a full plate of fries to share. Let me tell you - these are the BEST fries I've had in such a long time!!! They seemed like they were either baked or air fried. However they were cooked, I give them THREE THUMBS UP.
Cakes ordered the Bacon Cheddar Burger - Single. I think he enjoyed his burger because he finished his way before me.
I ordered the Naija Burger, which comes with Suya Spice. I added grilled mushrooms to mine though. The bun was soooo good! It was light, and soft and chewy and just the way a burger bun should be. The whole thing itself wasn't too bad. I should have told them to hold the mayo - I think it drowned the suya spice a little bit. I couldn't finish my burger and took half of it home. My overall thought - the burger was nice, but I've had better. At the birthday party last week, BBQ Cravings served the most delicious burger I've had in years! I was hoping Johnny Rockets would be as good, but it didn't quite reach it. It's not a bad burger though. I like the suya spice. I think they should have one with shawarma sauce - that would be epic!
I also ordered a Chocolate Milkshake, because I haven't had a milkshake in such a loooooooooong time. Unfortunately the milkshake wasn't thick and was pretty much a chocolate drink. It tasted good though. I just wish it was a lot thicker.
Our bill came up to about N8500, I think. Overall, I liked my food. But I can't go back there for another 6 months, because I have another 23 to 28 pounds to lose.
Johnny Rockets is at 1141 Adetokunbo Ademola Street in VI, and you can call them at 0700BURGERS, 08175881155, 07087958787. You can also follow them on Facebook or Twitter.
I missed the choreography. If we had gone earlier, like right after church when the place was full, i'm sure I would have seen it. I think because we went at that time too, it took a fair amount of time for the food to be prepared.
I'm not a Burger fan but the Suya burger sounds very interesting.
I've been there once, it was before I started my blog and I had the chicken burger, can't remember much about the taste though.
I just checked out the menu online and it looks like they have expanded it and added some more options, might stop by there someday soon.
Well, yeah, there ARE other restaurants but since i'm on this weight loss kick, i'm not sure I should be restaurant-hopping right now.
I was initially going to get a chicken sandwich hut as soon as I saw Naija burger with the suya spice, I changed my mind.
I have been to the one in Abuja and the setting is exactly the same even up to that design they do with ketch up on the plate. the burger was really nice but I don't know if it was worth my 4k abi 5k I paid. I enjoyed the choreography too, dunno if they still do that now because they had just opened when I went, u know how everything slows down with time. anyone, nice review berry. I could have said the same things, except for the milkshake, not really a fan so I haven't tried.
Ah okay, so the one in Abuja is open too. I saw a photo of the choreography on someone's IG - she had gone there earlier in the day.
And you fit in with your circle dress! I've been to JR in LA once or twice but not the one in Lagos. I'm all about the asun and suya when I get home.
what a great post the food looks yummy.
Berry this dress looks so good on you!. I love JR. Simple classic burgers + fries.
Loved the diner and 50s feel...the jukebox was real @ the least the prop controlled the music and I sang along like a hummingbird.But the yum yums were way to expensive,I spent about 7,500k with my date for 2 milkshakes and one burger.Didnt you think it was a tad too pricey?
Yup, I agree it's quite pricey. $45 mehn, because of burger and fries?!?!
Naija has changed so much since i was there as a kid! I remember the only 'big' place to get food back then was Barcelos haha! Awesome review by the way :) If/When i go back i'll make sure to give it a whirl!
Thanks Sade! Lagos has really developed a lot, and going through more development.
I love JR. It's the only place I. Naija that makes real burgers. My favourite is Route 66. You should have ordered the Oreo milkshake or the butterfingers milk shake. The plain ones aren't special but the ones with biscuits or chocolates? Amazing!
By the way, the juke boxes on each table aren't props. They're real. You click your song and it comes on the sound system around the whole restaurant. There's usually a queue of songs waitin but eventually yours gets play. Whenever we go in there we make a playlist before we even order. Lol.
Really?!?! I kept staring at them trying to figure out if they were real. Aww mehn. When I go back in 6 months i'll give it a try. I don't like my | 1,528 |
In the day that the Lord God made the earth and the heavens, when no plant of the field was yet in the earth and no herb of the field had yet sprung up—for the Lord God had not caused it to rain upon the earth, and there was no one to till the ground; but a stream would rise from the earth, and water the whole face of the ground— then the Lord God formed man from the dust of the ground,and breathed into his nostrils the breath of life; and the man became a living being.
And the Lord God planted a garden in Eden, in the east; and there he put the man whom he had formed. Out of the ground the Lord God made to grow every tree that is pleasant<|fim_middle|> and a tremendous gift. The responsibility is tilling and keeping God's creation. The gift is freedom to interact with that creation as we see fit. It's our choice how we want to coexist with the physical world in which we live.
A free gift that calls us to be stewards of our earth. Living as Adam and Eve did before the fall, in harmony with nature, enjoying the fruits so abundantly provided. Tilling and keeping creation so all who inhabit this planet might enjoy this abundance.
In my own way, how do I till and keep creation?
O Lord, he signifies you to us!
which God has set clear and lovely in heaven. | to the sight and good for food, the tree of life also in the midst of the garden, and the tree of the knowledge of good and evil.
In today's first reading we are given a tremendous responsibility | 42 |
We're extra excited about this week's recipes over here in the Minnie Chef's Kitchen! We always enjoy doing some themed cooking, and this week, the theme is football parties! An old classmate of mine has a collaborative beer tasting show, called Beer Undercover, that he broadcasts live every Sunday morning at 10 a.m. on Periscope. If you're a beer drinker, you should definitely tune in to this<|fim_middle|>on mustard and Tofutti cream cheese and stir until everything is melted and incorporated. | fun, informative, and interactive show about all things beer!
We came up with the idea of doing a Minnie Chef and Beer Undercover collaboration to tie together some beer with some bites. So, we took a couple of football party classics and reinvented them a little bit and paired them with a couple of beers. In an effort to achieve a balance, we put a healthy, vegan spin on traditional tacos, and made a vegan version of a pretty traditional—traditionally not so healthy—beer cheese dip with pretzel bites. Both of these recipes will be featured on this upcoming Sunday's (8/30) episode of Beer Undercover, so don't forget to tune in live at 10!
22 pretzel bites 70 mins. 15 mins. 85 mins.
These pretzels bites are the perfect handheld snack for a football party! They are mess free and easy to eat, and the intense flavor of beer incorporated into the dish pairs well with whatever beer your drinking on game day.
Combine warm water and yeast in a medium size mixing bowl. Allow to sit for 5-10 minutes.
Combine flour, sugar, garlic powder and salt in a separate mixing bowl and stir together.
Add flour mixture to water mixture and stir together until combined.
Once mixed together, add in chives and jalapenos and knead dough with hands to incorporate.
Grease a large mixing bowl with vegetable oil and transfer dough to bowl. Cover with plastic wrap or a dish towel and allow to rest and rise for 1 hour.
Line a cookie sheet with parchment paper and coat with vegetable oil.
Place another sheet of parchment paper on your countertop near your stove.
Fill a large pot with water and bring to a boil. Add 2 tablespoons of baking soda.
Remove dough from bowl and divide into three 3 sections. Roll dough into a rope, approximately 18 inches long, and break or cut into approximately 7 equal pieces.
Gently Drop pretzel bite dough into the pot of boiling water, three at a time, and let boil for 15 seconds. Remove with a slotted spoon or spatula and place on parchment paper on counter top. Allow excess water to roll off. Once all pretzels have been boiled, carefully transfer to parchment lined baking sheet.
Bake for approximately 15-17 minutes or until they have reached a brown color.
Remove from oven and transfer to a cooling rack until cool enough to handle.
Pour 1 cup of Rogue Dead Guy Ale into a small saucepan and place over low heat.
Once simmering, add in Daiya cheddar style shreds.
Stir frequently until cheese has melted.
Add in yellow mustard, Dij | 554 |
Seminar Series 2018-2019
Seminar Series Contact
Sheila Gurwitch
gurwitch@bcm.edu
One Baylor Plaza, S640 Houston, TX 77030
Seminar Series Academic Year 2018-2019
Neuroscience seminars attract distinguished leaders and scientists from around the United States and internationally. The 2018/2019 Neuroscience Department Seminar Series will launch Sept. 7, 2018, and conclude May 31, 2019. Our weekly events are open to all members of the neuroscience community at the Texas Medical Center. We meet on Fridays from 11 a.m. to noon in N315 auditorium in Alkek (The Graduate School of Biomedical Sciences, 3rd floor), unless specified otherwise. Neuroscience seminars are an important aspect of the rich academic environment that is cultivated in our department.
Seminar Speakers September - November 2018
Sept. 7, 2018: Gabriel de Erausquin, M.D., Ph.D.
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Conference room N315, Alkek at 11 a.m. Dr. de Erausquin is the chair of Psychiatry and Neurology, UT Rio Grande Valley. Seminar title: "Dopaminergic neuron susceptibility, Rho GTPases and the schizophrenias: can psychosis be prevented?" Seminar host: Ramiro Salas, Ph.D., assistant professor, psychiatry research, the Menninger Department of Psychiatry and Behavioral Sciences. Dr. Salas holds a joint appointment in the Department of Neuroscience and is also a member of the Dan L Duncan Comprehensive Cancer Center.
Sept. 14, 2018: Joanna Jankowsky, Ph.D.
Conference room 187A, Cullen (1st floor - Jaworski classroom) at 11 a.m. Dr. Jankowsky is an associate professor, Department of Neuroscience and Departments of Molecular and Cellular Biology, Neurology, and Neurosurgery at Baylor. Seminar title: "Chemogenetic modeling of circuit dysfunction in Alzheimer's disease." Seminar host: Paul Pfaffinger, Ph.D., professor and interim chair, Department of Neuroscience, Baylor College of Medicine.
Sept. 28, 2018: Richard Harris
Conference room Cullen Auditorium at 11 a.m. Richard Harris is a science correspondent for NPR (National Public Radio), award-winning journalist and book author. Seminar title: "Science Friction: What's Slowing Progress in Biomedicine?" Seminar host: Matt Rasband, Ph.D., professor and Vivian L. Smith Endowed Chair in Neuroscience, Baylor College of Medicine.
Oct. 5, 2018: Jack L. Feldman, Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Jack Feldman is a Distinguished Professor, Department of Neurobiology, University of California, Los Angeles. Seminar title: "Breathing Matters". Seminar host: Russell Ray, Ph.D., assistant professor, Departments of Neuroscience and Molecular Physiology and Biophysics, Baylor College of Medicine.
Oct. 19, 2018: Jill Leutgeb, Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Jill Leutgeb is a professor, Department of Neurobiology and Walter F. Heiligenberg Professorship in Neuroethology, University of California, San Diego. Seminar title: "Dentate network computations for memories and decisions". Seminar Host: Daoyun Ji, Ph.D., associate professor, Departments of Molecular and & Cellular Biology and Neuroscience, Baylor College of Medicine.
Nov. 9, 2018: Aaron DiAntonio, M.D., Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Aaron DiAntonio is the Alan A. and Edith L. Professor of Developmental Biology, Departments of Developmental Biology and Neurosciences, Washington University in St. Louis. Seminar title: "Axon Degeneration: Molecular Mechanisms and Therapeutic Opportunities". Seminar Host: Trent Watkins, Ph.D., assistant professor, Departments of Neurosurgery and Neuroscience, Baylor College of Medicine.
Nov. 16, 2018: Laura P. W. Ranum, Ph.D.
Conference<|fim_middle|> 25, 2019: Jonathan Ting, Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Jonathan Ting is an assistant Investigator at the Allen Institute for Brain Science. Seminar title: "Multi-modal functional analysis of human neocortical cell types". Seminar Host: Xiaolong Jiang, Ph.D., assistant professor, Department of Neuroscience, Baylor College of Medicine and Investigator, Jan and Dan Duncan Neurological Research Institute, Texas Children's Hospital.
Feb. 15, 2019: Jeffrey C. Magee , Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Jeffrey Magee is a professor of Neuroscience at Baylor College of Medicine, The Cullen Foundation Distinguished Endowed Chair at the Jan and Dan Duncan Neurological Research Institute at Texas Children's Hospital and Investigator at the Howard Hughes Medical Institute. Seminar title: "Mechanisms of experience-dependent hippocampal representations". Seminar Host: Paul Pfaffinger, Ph.D., professor and Interim Chair, Department Neuroscience at Baylor College of Medicine.
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Feb. 22, 2019: Amita Sehgal, Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Sehgal is John Herr Musser Professor in the Neuroscience Department at the Perelman School of Medicine, University of Pennsylvania, and a Howard Hughes Medical institute Investigator. Seminar title: "Using a small animal model to understand how and why we sleep". Seminar Host: Shinya Yamamoto, D.V.M. Ph.D., assistant professor, Departments of Molecular & Human Genetics and Neuroscience at Baylor College of Medicine and Jan and Dan Duncan Neurological Research Institute at Texas Children's Hospital.
Seminar Speakers March - April 2019
March 1, 2019: Lisa Goodrich, Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Lisa Goodrich is a professor of Neurobiology at Harvard University. Seminar title: "Hide and seq in the developing auditory system." Seminar Host: Matthew McGinley, Ph.D., assistant professor in the Department of Neuroscience at Baylor College of Medicine and Jan and Dan Duncan Neurological Research Institute at Texas Children's Hospital.
March 8, 2019: Sally Temple, Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Sally Temple is a professor in the Department of Biomedical Sciences and the co-founder, Scientific Director and Principal Investigator of the Neural Stem Cell Institute, University at Albany. Seminar title: "Neural stem cells in Development, Aging and Translation to the Clinic." Seminar Host: Ron Parchem, Ph.D., assistant professor in the Department of Neuroscience and Member of the Dan L Duncan Comprehensive Cancer Center at Baylor College of Medicine.
March 15, 2019: Casper Hoogenraad, Ph.D.
Conference room N315, Alkek auditorium at 11 a.m. Dr. Casper Hoogenraad is senior director and staff scientist, Neuroscience Department at Genentech, Roche Group. He is also a professor and chair of the Department of Cell Biology at the Utrecht University in Utrecht, the Netherlands, and member of De Jonge Akademie, part of the Royal Academy of Arts and Sciences in the Netherlands. Seminar title: "Mechanisms of neuronal polarity: cytoskeleton remodeling and cargo sorting." Seminar Host: Matthew Rasband, Ph.D., professor and Vivian L. Smith Endowed Chair in Neuroscience, Department of Neuroscience, Baylor College of Medicine.
March 22, 2019: Cagla Eroglu, Ph.D.
Conference room N315 (Alkek auditorium) at 11 a.m. Dr. Cagla Eroglu is an associate professor in the Departments of Cell Biology and Neurobiology at Duke University and Director of Graduate Studies, Program in Cell and Molecular Biology. Seminar title: "How do Astrocytes Sculpt Synaptic Circuits". Seminar Host: Kimberley Tolias, Ph.D., associate professor in the Departments of Neuroscience and Biochemistry and Molecular Biology at Baylor College of Medicine.
March 29, 2019: Jeanne Paz, Ph.D.
Conference room N315 (Alkek auditorium) at 11 a.m. Dr. Jeanne Paz is an assistant professor in the Department of Neurology and Assistant Investigator at the Gladstone Institute of Neurological Disease at University of California, San Francisco. Seminar title: "Novel role of the thalamus in Dravet Syndrome." Seminar Host: Jeannie Chin, Ph.D., assistant frofessor in the Department of Neuroscience and Memory & Brain Research Center, Baylor College of Medicine.
April 5, 2019: Jacqueline Burre, Ph.D.
Conference room N315 (Alkek auditorium) at 11 a.m. Dr. Jacqueline Burre is an assistant professor of Neuroscience, Brain and Mind Research Institute at Weill Cornell Medical College. Seminar title: "Synaptic dysfunction of Munc18-1/STXBP1 in varied encephalopathies and rational rescue strategies". Seminar Host: Mingshan Xue, Ph.D., assistant professor in the Departments of Neuroscience and Molecular and Human Genetics at Baylor College of Medicine and the Jan and Dan Duncan Neurological Research Institute at Texas Children's Hospital.
April 12, 2019: Qingchun Tong, PhD
Conference room N315 (Alkek auditorium) at 11 a.m. Dr. Tong is an associate professor and Cullen Chair in Molecular Medicine at UT Health Science Center at Houston. Seminar title: "A novel hypothalamic neural pathway for emotional control of feeding behavior". Seminar Host: Benjamin Arenkiel, Ph.D., associate professor in the Departments of Molecular and Human Genetics and Neuroscience at Baylor College of Medicine and the Jan and Dan Duncan Neurological Research Institute at Texas Children's Hospital.
April 19, 2019: Simon Peron, Ph.D.
Conference room N315 (Alkek auditorium) at 11 a.m. Dr. Peron is an assistant professor at the Center for Neural Science at the New York University. Seminar title: "The role of local microcircuits in shaping cortical receptive fields". Seminar Host: Fabrizio Gabbiani, Ph.D., professor in the Department of Neuroscience at Baylor College of Medicine.
April 26, 2019: Daniela Schiller, Ph.D.
Conference room N315 (Alkek auditorium) at 11 a.m. Dr. Schiller is an associate professor in the Departments of Psychiatry and Neuroscience at the Icahn School of Medicine at Mount Sinai, NY. Seminar title: "Navigating Mental Space". Seminar Host: Michael Beauchamp, Ph.D., professor in the Departments of Neuroscience and Neurosurgery and vice chair of Basic Research in the Department of Neurosurgery at Baylor College of Medicine.
Seminar Speakers May 2019
May 3, 2019: Laura Feltri, M.D.
Conference room N315, Alkek at 11 a.m. Dr. Laura Feltri is a professor of Biochemistry and Neurology in the Department of Biochemistry at the Jacobs School of Medicine and Biomedical Sciences at University of Buffalo in Buffalo, N.Y. Seminar title: "Conditional mutagenesis studies challenge the dogma in the Lysosomal Storage Disease Globoid Cell Leukodystrophy". Host: Hyun Kyoung Lee, Ph.D., assistant professor, Department of Pediatrics at Baylor College of Medicine and Investigator, Jan and Dan Duncan Neurological Research Institute at the Texas Children's Hospital.
May 10, 2019: Michelle Monje, M.D. Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Michelle Monje is an associate professor of Neurology and, by courtesy, of Neurosurgery, Pediatrics, Pathology and of Psychiatry and Behavioral Sciences at Stanford. Seminar title: "Myelin plasticity in health and disease". Host: Jeffrey L. Noebels, M.D., Ph.D., professor in the Departments of Neurology, Neuroscience, and Molecular & Human Genetics and Director of the Blue Bird Circle Developmental Neurogenetics Laboratory at Baylor College of Medicine.
May 17, 2019: Carlos Brody, Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Carlos Brody is a professor in the Princeton Neuroscience Institute and the Department of Molecular Biology at Princeton University. Seminar title: "Neural circuit mechanisms underlying cognition in rats". This seminar is hosted by postdoctoral fellows in the Neuroscience Department at Baylor College of Medicine, represented by Dr. Baptiste Caziot, a postdoc in Dr. Xaq Pitkow's Lab (co-advised by Dr. Dora Angelaki).
May 24, 2019: Alex Kolodkin, Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Alex Kolodkin is a professor of Neuroscience with a joint appointment in the Departments of Molecular Biology and Genetics at the Johns Hopkins University School of Medicine. In June 2016, Dr. Kolodkin has been honored with the inaugural Charles J. Homcy and Simeon G. Margolis Endowed Professorship in Neuroscience. Seminar title: "Molecular Mechanisms Underlying Neural Connectivity". Seminar host: Melanie Samuel, Ph.D., assistant professor in the Department of Neuroscience and the Huffington Center on Aging at Baylor College of Medicine.
Media Component
Seminar Series Journal Club
Join us! Seminar Series Journal Club is held Wednesdays preceding the week's Friday speaker.
Additional Journal Clubs
See other opportunities in neuroscience. | room N315 at 11 a.m. Dr. Laura Ranum is a professor and director of the Center for NeuroGenetics at the University of Florida. Seminar title: "Targeting RAN translation and RAN proteins mitigates disease in C9orf72 BAC ALS/FTD". Seminar host: Joanna Jankowsky, Ph.D., associate professor, Department of Neuroscience and Departments of Molecular and Cellular Biology, Neurology, and Neurosurgery, Baylor College of Medicine.
Nov. 30, 2018: Elizabeth M. C. Hillman, Ph.D.
Conference room N315 at 11 a.m. Dr. Elizabeth Hillman is a professor in the Department of Biomedical Engineering at Columbia University. Seminar title: "Real-time, multi-scale imaging of whole-brain activity". Seminar Hosts: Francois St-Pierre, Ph.D., assistant professor, Departments of Neuroscience at Baylor and Electrical and Computer Engineering at Rice University, and David Ress, Ph.D., associate professor, Department of Neuroscience, Baylor College of Medicine.
Seminar Speakers December 2018 - February 2019
Dec. 7, 2018: Jesse H. Goldberg, M.D. Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Jesse Goldberg is an assistant professor and Robert R. Capranica Fellow, Department of Neurobiology & Behavior, Cornell University. Seminar title: "Limbic Circuits for motor sequence learning". Seminar Hosts: Francois St-Pierre, Ph.D., assistant professor, Departments of Neuroscience at Baylor College of Medicine and Electrical and Computer Engineering at Rice University, and David Ress, Ph.D., associate professor, Department of Neuroscience, Baylor College of Medicine.
Jan. 11, 2019: James Knierim, Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. James Knierim is a professor of Neuroscience and Co-Director of Neuroscience Training Program at the Krieger Mind and Brain Institute at the Johns Hopkins University. Seminar title: "Spatial Coding and Episodic Memory in the Hippocampus". Seminar host: Neuroscience Graduate Program students, represented by Amanda Brown (Roy Sillitoe Lab) and Henry Cham (David Dickman Lab).
Jan. 18, 2019: Baljit S. Khakh, Ph.D.
Conference room N315, Alkek at 11 a.m. Dr. Baljit Khakh is a professor of Physiology and Neurobiology in the Department of Physiology at the University of California, Los Angeles. Seminar title: "Astrocyte roles in neural circuits". Seminar Host: Ben Deneen, Ph.D., professor in the Department of Neuroscience and Center for Cell and Gene Therapy, Baylor College of Medicine.
Jan. | 598 |
Last week, I found out that someone I thought was a friend neglected to refer me for a consulting gig with another manager at her workplace. It would have been part time for about 12 weeks, and highly lucrative (probably $20,000 or so). Ramona knew I wanted — and could have used — the work, and that I am highly qualified. I might not have gotten the gig, but the fact that she didn't refer me — and didn't even tell me of the gig's existence so I could apply, despite the fact that I had mentioned looking for exactly this sort of opportunity, really feels like a betrayal. A minor betrayal in the larger scheme of things, perhaps, but a betrayal, nonetheless.
To be fair, I had coached Ramona through difficulties with this particular manager in the past, and she probably just didn't want to deal with the fallout from my interaction with him. Still…. she was acting in her own self-interest in a way that showed in how little regard she holds me.
Be gracious – Keep your cool as you find out you have been betrayed — words once said can't be unsaid, and in this day of electronic replication, may be sent far and wide, without context. You may not understand the whole picture at this point. Take the high road. Nothing good ever came of revenge.
Admit your feelings – Of course, you're angry. You have every right to be — you were betrayed. Your trust and/or expectations were violated. Anger is normal in this situation, in fact, anger exists to alert you to violations. Talk to a trusted confidante, or write everything out in a journal. If your journal is in your computer, do NOT put it anywhere it could be accidentally sent out in an email. Don't put it online. Again, in this day of electronic replication, what you write (or worse, damning excerpts<|fim_middle|>?
So here's what happened with Ramona: I was gracious – I listened to her tell me what happened (she was at a point where she knew I'd soon find out, and was mature enough to step up at that point and tell the truth). I kept my cool, saying very little as she told me. I do know that she and her colleague will get everything they deserve, good and bad, and so I am moving on. I spent a few painful hours grokking what had happened — and then I started to write this. That feels much better than wallowing in self-pity and anger. I did also look at what parts of my Self might have created this situation.
Here's how I assess the situation going forward: What happened was a one time thing, and I was collateral damage to her own career aspirations. I know where I stand, and I'm grateful for that clarity. Ramona neither apologized (or maybe I was too upset to hear it), accepted responsibility, offered to make amends nor to avoid this behavior in the future.
I value her talents and insights, as I still believe she values mine. That is definitely the basis for a limited relationship, one where we give each other professional advice. It is probably not the basis for a true friendship, but who knows? Life paths have many twists and turns, and our paths may grow closer in the future. | ) may be sent far and wide, without context.
Know that karma will take care of it – Know that people do get what they deserve — even if it isn't in this lifetime. This is the concept of karma, a universal balancing out of energies. YOU are not in charge of karma; the universe (or God, or Source, or whatever term you prefer) is.
Ask yourself what you might have done to contribute to the situation – Did you excuse bad behavior in the past? Or willfully ignore what you already knew at some level? Was this a learning experience your soul wanted you to have?
Was this a pattern of behavior or a one time thing? A spouse having a years-long affair is quite different from a 'friend' failing to disclose a job opportunity. If there is a pattern of betrayal, getting away is probably your best course of action. If it's happened only once, though, perhaps the betrayer didn't realize what she was doing, or perhaps he was in a situation where there were no good solutions.
Was this maliciously done to you, or were you simply collateral damage? Did the betrayer do this to hurt you intentionally, perhaps out of jealousy? Or was the betrayer just acting in self-interest, without thinking of you? If it was done maliciously, run in the other direction, as fast as you can. If you were the unintentional victim of self-interest, well, you know where you stand going forward. Act accordingly.
Has the person apologized? Accepted responsibility? Offered to make amends? And to avoid this behavior in the future? All of these things are necessary to repair a relationship, and they will mostly likely take time and effort.
How valuable is this relationship to you? Is this someone who used to hang out with because it was convenient, and that was the extent of the relationship? You can let that one go easily. Or was this someone you trusted with your inner life, a close confidant? Or something in between? Are there parts of your relationship you can save | 415 |
TRUE-BLUE COMFORT
Reggie enjoys some comfort and joy from the blue afghan.
The following column recently appeared in The Courier-Times.
The other morning I looked down and there was our Boston Terrier, Reggie, enjoying a cuddle in the
comfort of our true-blue afghan.
That piece of handiwork was crocheted as a 1976 Christmas present my senior year of high school.
All the kids in the family got one, each in a different color scheme, made by my sister-in-law
Jeannie's mother, Evelyn, who passed away last year.
Who could have possibly guessed that over the next 42 years—and counting—that blanket would not
only hold up great, but retain its bright blue hues, machine wash and dry like a dream, and fold neatly
on the sofa?
In the early days of our marriage, Brian recalls us fussing over which one would take possession of the afghan first on a cold winter's night. Known for its extra-long, mega-wide size, it has always been a favorite warmer.
I remember our couple friends who visited on New Year's Eve 1978, where we played Atari. Brian and I had been married just a couple months, and one of our friends realized she was chilling and taking ill that very evening. We swaddled her in the blanket to warm her up. I think it went home with them for the night.
Once it wrapped a baby niece who was visiting—and went home with her on the ride home in a chilly
car. We got it back next time we visited the family.
Older son Sam describes the blanket as a "family heirloom," because our sons have spent their fair
share of moments wrapped in the still-serviceable keepsake.
For a while, we thought the afghan was gone for good. It hadn't turned up for a couple years, a
mystery. Brian and I remained convinced that it had gone off with son Ben to college when he and
three other boys rented a house for two years. We could only speculate—but not dwell—on what had
happened to cause the disappearance of the old afghan. One thing for sure, we didn't think we'd ever
see it again.
Then one day last year I was rummaging through layers of blankets folded under some throw pillows in an antique family cradle kept upstairs in our home, out of the way. To my astonishment—there was the blue afghan. I don't remember placing it there, but it looks like something only I would have done in an absent-minded way, perhaps in the heat of summer when the need for an ultra-warm afghan was a distant concept.
I quickly summoned Brian with news that what was lost is now found! We were both delighted.
This winter, the afghan is in use again, generally splayed across the sofa after being enjoyed yet again,
now by the empty nesters and their dog. And yes, Reggie is quite happy to take her turn under or on
top of its thick and cuddly surface.
Here's to you, blue afghan. Long may you warm the chilled and comfort the ill.
THREE MEN AND A TRUCK
This morning, my three fellas load up the U-Haul to take our old couch on the road to Ben.
We're getting some new furniture. It came in earlier than we expected, which means we aren't ready and had to delay delivery for a week. It also means that we got ourselves in gear to redistribute the old stuff.
So today, it was up and cooking breakfast early<|fim_middle|> now. I didn't see them then."
He recalls thinking, "I just feel so bad," as he prepared to add the oil. His legs buckled, then he locked them and they buckled again. "The next thing I remember was being at St. Vincent Monday at 11 o'clock." But he had no idea why he was there.
First responders tried inserting a tube down his throat when they reached the garage, but his throat had swollen so much they were unsuccessful. Oxygen was not getting to his body as it should. He was taken to Henry Community Health where they forced oxygen into him. It was determined to transfer him to St. Vincent by ambulance at 1 a.m. Sunday.
He was on 100-percent oxygen, then slowly decreased it. They were able to insert a child's ventilator because his throat was swollen so much.
Bob was given some chilling news. "If I'd been in there (the closed garage) two more minutes, I wouldn't have made it," he recalls being told. "The doctor said it's a miracle how well I responded."
He was dismissed on Tuesday, and it is believed he will have a full recovery. "I got well as quickly as I got ill," Bob says.
Described by Kathy as very organized, disciplined and well trained, Bob expresses disappointment in himself because he knows better than to put himself in such a situation as what happened in his garage.
"Something good will come from it," Bob says. "I'm disappointed that I put my family through this."
When asked about his granddaughter saving his life by going out to see him at the exact right time before he was gone, Papaw is emotional searching for the words. Kathy fills in. "He's proud of her," she says. "He knows if she hadn't wanted to see him it would have been over."
Adds Bob, "I hated it that she had to find me like that but I'm glad she did."
Kathy asks Ruby why she wanted to go see Papaw in the garage. She answers, "Cause I love him."
The daughter of Bob and Kathy's son, Brandon and wife Brooke Pierce of New Castle, Ruby attends Kidding Around Daycare in New Castle. She likes spending time with her grandparents. She enjoys drawing pictures and letters, and shows a groundhog she made at daycare. She also enjoys her hoverboard, Barbie Dreamhouse, LOLs and watching SpongeBob with her Papaw.
She wants to someday be a ballerina—and a teacher.
When asked why she loves Papaw she is quick with an answer. "He's the best thing ever." The two of them agree that she's Papaw's girl.
The Pierces have another son, Aaron, and another granddaughter, Addyson, 9. Bob says he's blessed to be from a big, extended, close family, A 1974 graduate of Tri High School, he says he's "a Lewisville Bear by heart."
Bob says he's been blessed with a career working in the family business, a salvage yard in New Paris, Ohio, with extended family and his sons.
When asked how the incident affected his faith, Bob says, "We've always been Christian family. We are very faithful Christians." He points to Romans 8:28:
Romans 8:28 New International Version (NIV): "And we know that in all things God works for the good of those who love him, who[a] have been called according to his purpose."
Adds Bob, "I always believe no matter how bad things get even in a bad situation good will come from it." The family attends Southside Church of Christ in New Castle.
Says Bob, "I've just been blessed so much and I knew it before."
As for Ruby, people are telling her she's a hero. She giggles at the idea.
And gives her Papaw frequent hugs. | for the moving crew. In the spirit of make-do Americans past and present, at least those in our families, Ben said he would like our old sectional sofa. I think it's in the blood, as well as the bank account, because Brian and I were handed down a sofa from his folks for our first rental home--and we were glad to get it, I might add.
We were so excited to sleep in our rented farmhouse that first night before our other furniture arrived (notably, my childhood canopy bed, sans canopy) that we slept side-by-side on our used sofa.
So at 7:45 a.m. today, Sam was the first arrival and I began creating custom-order omelettes for the three of them.
Brian picked up the truck and the guys rolled to Indy not long after that. I had fully planned to go along and offer essential advice that every mom is good for -- "Be careful on those steps, you guys;" "Don't drop it!"; "Easy;" "Watch your fingers."
But before I could get on the road, a text came from a charity that I had given up on regarding taking our upstairs sofa and love seat. There was a chance they could pick them up at 11 if that worked. I said I'd stick around and see if it worked out. It didn't, but I was pleased to know that my trio down at Indy survived not only the move upstairs to Ben's apartment of the old sectional sofa, but also the move down and out of Ben's former used sofa. They got by without my, "Be careful in the door frame!"
When Brian got back to town, he called for me to head out to pick him up at the rental place. "That went about as smoothly as it could have," he assessed of the morning move.
Buoyed by the news, and it being a mere minutes after noon, we decided to delve into a related project. If your family is like ours, whenever there's a decorating project such as new furniture, that leads to another semi-related project. In our case, it's prep work for a revamp of our upstairs bonus room. That means many things, starting with weeding out a large number of books of all kinds. I'll save those details for another blog post.
Since I wasn't there to see the results, I asked Ben to text me a photo. He did, along with a photo of a meal he put together with some leftovers I sent him home with.
And, he sent this text, "Cannot believe the beloved Cronk couch is in my apartment."
Warms this mama's heart, for sure.
New home for an old couch!
Good lookin' meal made with leftovers, there Cronk. Also in the photo, some of his girlfriend's roses.
JOIN US TO CELEBRATE TINA'S RETIREMENT
Donna Cronk / Courier-Times Photo // Courier-Times, Connersville News-Examiner and Shelbyville News Publisher Tina West is retiring next Friday after 41 years in the newspaper industry. She began as an advertising clerk, delivering proofs to businesses, working her way up to publisher of multiple newspapers at once. She holds the current and first issue of her magazine for women, which she started, and of the daily Courier-Times.
Tina's first job in the newspaper industry was in her hometown of Anderson.
By DONNA CRONK
The Courier-Times
Tina West didn't set out to spend her career in the newspaper industry. But it worked out that way and she would do it again.
West, a graduate of Anderson Highland High School, attended Ball State University to major in
elementary education. Then came a summer job with the Anderson Herald delivering advertising
proofs to businesses.
A promotion came quickly to the classified department. In less than a year she was promoted to the
business office.
"In a short time I had done payroll, accounts payable, sales, accounts receivable and saw different
sides of the newspaper," recalls West. "I loved every department I was in so I just decided this was the
career for me. Forty-one years later, it has been a great career. I would choose it all over again."
When she started out in the industry, most publishers and editors were male. "For some reason, I did
not see that as a hurdle to keep me from climbing a ladder," West recalls. "My thoughts were yes I am
a woman but I can multi-task with the best of them."
Being a mom prepared her to wear many hats. "My advice to young women starting a career is just to
work hard and respect yourself. If you do that, others will start respecting you and see your potential."
West has always found faith and family extremely important. "My faith is absolutely the most important thing to me," she says. "I am just an average woman with an amazing God. He's pretty good at what He does and He gave me some skills."
She stresses that she did not get anywhere on her own and has never taken jobs, promotions, awards
and paychecks for granted.
"I am really not that smart," says West. "He just gives me wisdom and love for people. Both of those
characteristics are very important in the workplace."
When asked which achievements and memories leading The Courier-Times mean the most to her,
West finds it an emotional question. "So many memories," she says. "Obviously the memories will be
meeting and working with so many wonderful people."
West founded her magazine for women, a specialty publication the paper launched in 2011, and says
she is proud of that. She credits staff and columnists with their work on the periodical.
"Every time it is published, it is like holding a newborn baby in my hands," says West. "Women tell me
all the time about how much they love it and can't wait for the next edition."
She said on Super Bowl Sunday, the day the current issue came out, she got a text from a friend in
Florida who had friends from New Castle already texting her about an article in it.
"Anything that brings joy to people, brings smiles and fun in their lives, is good," West says. "It was a
blessing to be a part of it."
Memorable prank
When recalling stories from her work here, West remembers one from 1996 when the Colts played the Steelers in a championship game. Those who know West are aware that she is a huge fan of the
Indianapolis Colts.
"My two least favorite teams are Patriots and Steelers (in that order)," says West. "Anyway, my boss
and his partner in crime (my neighbor) thought it would be funny to have me drive all over town with a Steelers license plate on my car."
She continues. "I think I drove it for a few days before I walked out of Kroger and saw a car like mine
with the Steelers plate on the front of it. Knowing that it was not my car, I kept walking around the
parking lot, again and again. Finally, I went over and looked in the car and realized it was my car. I
went back to work. I walked straight into my office and grabbed a screwdriver to remove the plate. My boss laughed for days. By the way, the Steelers won 20-16."
With 41 years under her belt in the news business, West decided at age 62 to make a change and
retire. "I want to spend time with my family," she says. "Also, my daughter and I just released a book
called 'Be Still: Memoirs of a Motherless Daughter.' I want to do more in women's ministry."
Specifically, she plans to watch Hallmark movies, read books, spoil her children and grandkids more
and pursue speaking opportunities in women's ministry. She's also writing a second book.
Tina's children are: Lyndie (husband Taylor) Metz of Pendleton. Their children are Emerson, Tennor and Beckham; Amy (husband Kevin) Westfall of Melbourne, Florida, whose daughter is Abby; Michael (wife Rachel) West of Batesville, parents of Coleman and Lucy, and Mallory (husband Sean) Finley of
Fishers.
"I would just like to thank all of the employees at The Courier-Times and people I have worked with at
other newspapers," says the newspaper veteran. "I have made some awesome friends. Also, my boss
David Holgate and Paxton Media Group have been nothing but great to me. Thank you for that."
Community friends, colleagues, advertisers and readers are welcome to visit with West during a
retirement open house from 11 a.m. to 1 p.m. Wednesday, Feb. 13 at the newspaper, 201 S. 14th St.
West will be available to chat with those who attend the come-and-go event. There will be a basket for cards and light refreshments will be available.
'A joy to work for'
Courier-Times Advertising Director Marka Sonoga said that when she heard West would be her boss,
she was delighted.
"I think she will be missed by the staff and by the community," says Sonoga. "She was a great
representative for our newspaper. She's been good to work with. I hate to see her go but she'll have
fun."
Sonoga, who will become interim publisher, admires all that West does inside and outside the
newspaper. For example, she said West plans to remain involved with her "little buddy" in a New
Castle school program organized by Believe and Achieve Mentoring (B.A.M.) She also mentions how
West is a hard worker who is not afraid to lead by doing and rolling up her sleeves and getting to work on a task.
That comment is affirmed by Courier-Times veteran reporter Darrel Radford. He admires how he would see West quietly at work on maintenance-type issues around the plant during off hours and assuming such tasks as leaf and snow removal.
Sonoga sums up how she feels about West. "She's been a joy to work for."
Longtime friend Beverly Matthews, president of the Henry County Community Foundation, said that on rare occasions, you meet someone in life who helps you fill a larger part of yourself.
"One of those people in my life is Tina West and she makes me a better person," Matthews says. "As
a friend, she encourages me; as a professional, she mentors me; and as a Christian, she influences me
with her solid faith."
She is thrilled that West gets to retire from her beloved career and "fulfill her passion of writing,
speaking and sharing her life experiences to bring help to others and glory to God."
Matthews continues, "She's not finished yet and I'm looking forward to sharing more adventures with
Tina."
Photo provided Tina with five of her six treasured grandchildren--miniature Colts fans all.
GIRL'S BIRTHDAY WISH COMES TRUE
Donna Cronk / Courier-Times photo // Ava Loveless only wanted to support Riley Hospital for her 12th birthday.
My name is Donna and I like to tell stories; good-news stories in particular. Here's one about a local girl who only wanted to give back to a hospital that has helped her family. From today's New Castle Courier-Times.
When thinking about how to celebrate her 12th birthday, Blue River Valley sixth-grader Ava Loveless had only one thing in mind. She wanted to raise money to benefit Riley Hospital for Children.
Her dream came true, taking in $400, and exceeding her expectations. She plans to hand-deliver the money soon.
Ava has a personal reason behind her love for Riley. Her brother Finnton Loveless, 9, was born there with a chromosome disorder, 5p minus syndrome, which is short for Cri du chat syndrome. Essentially, he is missing his fifth chromosome. He is unable to walk or talk.
"I know how hard it is to take care of him and to buy stuff for him," says Ava. "I didn't think I was going to get that much money."
The siblings' birthdays are very close. Ava was born Jan. 26, 2007 and Finnton three years later on Jan. 28, 2010. They are the children of Jerome and Brooke Loveless.
Says Brooke about her daughter, "She just always wanted to give back. I'm really proud of her for this."
Ava's Papaw, John Turner of New Castle, echoes the pride. "I'm just really proud of her for wanting to do it."
Brooke says Finnton spent so much in-patient time at Riley that she and her daughter would stay together at the Ronald McDonald House.
The goal to raise money for the hospital that has served her family is not a new idea to Ava.
"I've actually been wanting to do that for my last birthday," she says. "I've kind of always wanted to raise money for Riley."
She's excited about hand-delivering it very soon. When she's not being a junior philanthropist, Ava enjoys volleyball when in season, social studies in the classroom, drawing, roller skating and playing on the trampoline. She attends Ninth Street Church of God.
Ava recently won an art contest by drawing the cover of her school's upcoming yearbook. She also enjoys little kids and hopes to one day become an art teacher.
COUNTING HIS BLESSINGS
Miracle credited with saving Bob Pierce's life
From today's New Castle Courier-Times. This is one of those stories where I float home from the interview. This is why it's my honor to be a community journalist.
Story and photos by Donna Cronk for The Courier-Times.
STRAUGHN — A week ago Saturday, Bob Pierce of rural Straughn decided to work on his lawn mower in the family's detached garage.
He wouldn't recall the events that happened next until a few days later when he woke up in St. Vincent Hospital in Indianapolis and at first, wondered why he was there.
When he went to the garage on Saturday, Kathy, his wife of more than 38 years, and their granddaughter, Ruby Pierce, 5, stayed inside the house. Ruby asked her grandmother, "Can I just go see my Papaw?" Ruby got ready and walked the few steps outside to the garage.
She came right back and reported to her grandmother, "He's sleeping and he's snoring."
Kathy knew something was wrong. She went to the garage and saw that Bob was breathing and called 911 and family members. "I figured he had a heart attack or a stroke," says Kathy, a New Castle school bus driver.
Seven minutes later the Lewisville and Straughn fire departments arrived. New Castle medics also showed up. "They thought they smelled something," Kathy says, adding that they suspected carbon monoxide.
Bob recalls that he had been getting his mower ready for spring by greasing it, then preparing to change the oil. So he started it and let it run in a closed garage for around 20 minutes.
"I had signs," he says. "I see them | 3,159 |
Jersey Shore Man Named 2018 World Champion Bare Back Rider
In Local News, Sports
Lou Hunsinger, Jr.
<|fim_middle|> He travels all over the country. This past year he won his first World Title at the IPRA (International Professional Rodeo Association) Finals in Oklahoma City.
Rodeo riding is a very physically hazardous and demanding sport and injuries can — and often do — result during this type of competition.
Tyler has had his share of injuries. During his junior year of high school, he broke his right femur at the National High School Finals Rodeo in New Mexico. He recovered from that injury, but the following year he re-broke the same femur. The journey definitely came with trying times, but Tyler never lost sight of his dream.
Tyler is very dedicated and self-driven, stopping at nothing to achieve his goals. Through hard work, faith, amazing coaches along the way, and support from family and friends, he isn't only a World Champ in the arena, but in life as well.
As to his future plans, he plans to participate in rodeos as long as he can. He would love to coach when he is ready to start a new career.
Tyler is back on the rodeo circuit, traveling to the south in the upcoming weeks.
He frequently competes in Canada also. During his time off he helps on the family farm and also in the family's business, TLC Fuels. Every Wednesday, Tyler and his dad work with a group of young men "Roughstock U" teaching them the rodeo skills they need to be successful in this sport. They are trying to reach youth and encourage the sport to grow in the Northeast. | When you think of individuals who excel in rodeo riding and events such as bareback riding, you usually think of them as hailing from western states such as Texas, Oklahoma or Wyoming. But right here in our own backyard a Jersey Shore area man, 28-year old Tyler Waltz, was recently named the 2018 World Champion
When you think of individuals who excel in rodeo riding and events such as bareback riding, you usually think of them as hailing from western states such as Texas, Oklahoma or Wyoming. But right here in our own backyard a Jersey Shore area man, 28-year old Tyler Waltz, was recently named the 2018 World Champion Bare Back Rider.
He was named the World Champion Bareback Rider at the International Professional Rodeo Association (IPRA) finals.
"This has always been my dream, to win a world championship," Tyler told Webb Weekly.
Tyler gained his interest in rodeo riding at an early age. He has been involved in the sport since he was six years old. His interest came naturally because it has been a sort of family affair. His father, Dave, was a bull-rider during the 1970s and 80s. His two sisters, Lauren and Courtney, competed in Keystone Junior Rodeo Association.
His love for the sport blossomed and led him to compete in the Pennsylvania High School Rodeo Association where he won many awards. His love of the sport didn't end in high school. Tyler received a full scholarship to rodeo at the University of Tennessee at Martin for Coach John Luthi. His senior year, he ended up third in the nation in the bareback riding, and his college team won the National Title.
Since college, Tyler has been competing in the professional ranks. | 369 |
Upon entrance (ether at the front door or around the side) you will be greeted and welcomed. We love everybody here.
Dress – Some dress up, some dress down/casual. Whatever you feel comfortable in works. There<|fim_middle|>.
We provide nursery for infants and toddlers as well as children's church for all elementary students and pre-school children during Sunday School and the Sunday morning worship service. But we also support you if you want to bring your children into the service as well. | is no dress code (other than modesty).
Music – We have a very blended sound. From traditional hymns on the piano, to contemporary praise songs with the guitars and cajon (box drum), and even some blue-grass, you'll find something enjoyable for everybody. Our goal in music is to be purposeful and pleasing to God.
Preaching – Biblical truth expounded, explained, and made relevant for the people. We place a high priority on God's Word and allowing the Spirit to use it to impact our lives | 108 |
Well-established in other industries but relatively new to financial inclusion, human-centered design (HCD) is a process built on learning directly from customers in their own environments. The process challenges financial providers to understand, create, evolve, and test possible solutions and repeat the cycle for as many times as it takes.
CGAP has experimented with seven HCD projects in eight countries. We brought leading design firms to work with banks, telecos, and insurance intermediary. As<|fim_middle|> strengths of mobile money.
Maybe the biggest lesson from these seven projects is that it's going to be a challenge to integrate mobile money into the lives of the poor. Mobile money is not a magic bullet and neither is HCD. Even the most customer-centric and innovative concepts can fail without an ecosystem designed around the needs of customers. The flip side of this is that by working with HCD techniques, we have gleaned insights from hundreds of people that make us incredibly hopeful. Together, the results of these projects are helping to point the way forward.
An interactive publication can be found here. | a result, we developed 175 financial product concepts and 30 prototypes. One lesson learned during these projects is that mobile money as a solution to financial inclusion for the poor is not without challenges. Using human-centered design as a method for examining how financial services work for the poor gave us many ideas about how to combine the best of informal financial services with what we know to be the | 79 |
Looking for your favourite Indian food in Annandale?
Neel Kamal Indian Restaurant offers Indian dishes that have been carefully prepared and cooked by skilled chefs.
Check out their selection of mouth watering dishes, ranging from delectable entrées to our very own seafood specialities.
There is something to suit all tastes and budgets.
Neel Kamal Indian Restaurant offers great customer service and fantastic food. You'll love it.
<|fim_middle|> particular were much better than most other indian restaurants we've been to. Very generous size servings too. The mains were definitely on point too. Overall it was a banquet like feast we had. For the entrees definitely try the fish fry, and the chicken 56 i think it was called. For the mains definitely gotta try the lamb paneer!
We visited this restaurant for the first time on Saturday night. What a great find! Such a friendly and relaxed vibe, and the food was amazing! Some of the best Indian food we have had in Sydney. Our kids loved it too, and they were very accommodating with them. We will be back for sure! | Food was ok, entrees better than the main. would not have paid full price and don't think we will return.
I think they had just opened, we were served by a young girl who unfortunately knew nothing of the dishes and had to run to the kitchen to find info every time we wanted to know about any of the dishes. The food was tasty when it arrived, I had (what was listed as the chefs signature dish) the dish 'Lahorie Chicken' while tasty was about 90% gravy and 10% chicken. My wife was a bit luckier, she had the chicken Tikka although she said it was a little under cooked. I don't like to give bad reports as nobody tried to serve mediocre food. Maybe we were just there on a bad night?
I enjoyed our meal there. We had a vegan with us, which was no problem. The waitress was really nice and helpful.
My first 'First Table' experience, and it was a HIT!! Being an Indian restaurant, I was skeptical as they have a bad reputation for not honoring deals/offers or being sneaky with offerings. However, this place was fantastic. The T&Cs were clearly stipulated in the booking confirmation and the restaurant was ethical to honour them.
The ambience isn't anything special however the food was finger-licking good. Staff were very polite and attentive.
The food was absolutely delicious. Generous serving too. We will go back again soon.
Such nice food! Loved everything.
We were pleasantly surprised by the quality of the food..........the entrees in | 321 |
Tuesday night was another slightly lumpy one for those living and working on board the James Clark Ross, but things did appear to be better in daylight and shortly after 08:00 the ship stopped and carried out a test CTD cast. CTD stands for Conductivity, Temperature and Depth and enables the scientists to get water samples from known depths in the water column. The test CTD was only to 100m and was to ensure that the equipment was operating correctly and to act as a teaching aid to those involved that had not done a CTD on board the JCR previously. The instrument was only lowered to 100m, so very shallow for us, and was then successfully recovered back on board.
A view of part of the Underway Instrumentation and Control Room (UIC) with a number of monitors that are used to keep those working in the area informed as to what is happening with some of the instrumentation and equipment. You will see a live NavMet screen, which refreshes every second and is ideal for seeing what the conditions are like outside (although one could of course look out of one of the many windows).
The James Clark Ross is going to make a quick journey across the Drakes Passage to King George Island where the science work will start. On our way back to Stanley the intention is to carry out a series of CTD's. Hopefully the sea will be a little calmer. All being well we should arrive in the early hours of Friday morning.
I was<|fim_middle|> of these and fourteen two berth cabins). From each cabin it is possible to access email and work directories and also to phone home. All cabins have their own bathroom facilities.
This evening the sea remains a little bit lumpy but is not too uncomfortable. Hopefully it will be possible to sleep well, although I am sure that my cabin will be making a few noises that I will have to try and ignore. I have discovered a new sound in my cabin, which only occurs when the ship is rolling heavily (more than 15 degrees) and appears to come from inside the door of my fridge! | passing through the Main Lab today and spotted four gliders out on the benches, being prepared for deployment. Check the Twittter feed for another picture taken today. These instruments are a cost effective way to obtain long term data at a reasonable price as once deployed they are autonomous and will only need collecting at the end of their mission.
Another instrument that we have on board is the VMP, which will be deployed on a wire behind the ship, collecting data as the ship moves at a slow speed. More on this when it is being used. It is being stored in the Rough Workshop.
A rare glimpse into life on board for the scientists. This is cabin 16, one of the four berth cabins on board (there are four | 149 |
Alumni Men of the Year<|fim_middle|>uctees share a common belief about Brother Rice. They all appreciate what Brother Rice has meant to them while they were students here, and as they pursued their different paths as grown men. Their graduation years span 38 years, and each has expressed appreciation for his Brother Rice education for unique reasons and in a variety of ways.
Bill Waddell '60 had two sons, Willie '07 and Dan '08, graduate from Brother Rice and he has been supporting Brother Rice for over 20 years with increasing generosity, so much so that he continues to be among our leading alumni in providing Crusaders with exceptional opportunities. We eventually learned that Bill's overall philanthropy extends to a wide variety of worthy causes throughout Southwest Chicagoland, where he is a leading volunteer and supporter.
Tom Dixon '80 was only 27 years old when he first started recruiting and organizing foursomes for the annual Alumni Golf Outing, and his group of fellow alumni and other friends has grown to be the largest of the morning shot gun, as they annually arrange vacations to begin this summer weekend together. If we had only 100 more alumni like Tom, we would generate thousands in more attendance and hundreds of thousands in more financial support for Brother Rice.
Ed McGunn '80, along with his wife Lori, is among the most actively and proactively supportive parents in Brother Rice history, with no signs of letting up, as he gives, gets, and shows up for today's and tomorrow's Crusaders at a level so all-encompassing, it will be challenging to adequately measure and appreciate. He and Lori were therefore named our first Couple of the Year at the 1st Be Exceptional Gala in February, so Ed is a no-brainer selection as a 2020 Man of the Year.
Patrick Elwood '85 is being inducted into the Alumni Hall of Fame not only because of his service to Brother Rice as a former member of the Board of Directors and public promoter of his alma mater, but also because this award winning WGN-TV reporter has raised millions of dollars for pediatric cancer and thousands for REACT4Ryan in the wake of his nephew, Ryan's suicide, to help first responders coping with PTSD. The youngest brother of Tom '68, Mike '74, and Bill '78, Patrick is a champion of the underdog, who takes personally his response to the needs of others.
Kevin Badke '98 is so appreciative of his Brother Rice Catholic High School experience, that as a prominent donor to Lifeguard, he has become a leading provider of that experience for others who otherwise would not be able to afford it. In fact, no one in Brother Rice history has provided a Brother Rice education to more students at such a young age, than has Kevin Badke.
We will have more to say about these exceptional alumni Crusaders at their induction into the Alumni Hall of Fame on Saturday, September 26 at private ceremony honoring these exceptional Crusaders. Not everyone can give what they have already given, but most of us can show our appreciation for them and for our own education by giving what we can give for today's and tomorrow's Crusaders.
To view this event: Join our live stream visit https://www.youtube.com/watch?v=1doBSXOswrw&feature=youtu.be September 26th at 6 PM.
kmccormick2020-09-22T12:20:59-05:00
Alumni Softball
Gold Key Raffle Winners
Bill Hite Scholarship Clay Shoot Tournament |
This year's Alumni Men of the Year and Alumni Hall of Fame Ind | 15 |
Introducing Orlando's New Signature Dish: "Orlando's Honey Nougat Gl<|fim_middle|> state's mild climate and sandy soil, so too did the bees. Central Florida has long had an abundance of local crops and plants that contribute to numerous flavors of honey such as gallberry, saw palmetto, blueberry, Brazilian pepper and popular orange blossoms. | acé"
The winning dish, "Orlando's Honey Nougat Glacé," is an Italian meringue prepared with honey, nougat and fruit confit, on a red berries sorbet from Chef Catherine Delrieu of Mon Petit Cheri.
The most visited destination in the U.S. has a new must-taste experience: a signature dessert developed to showcase the region's culinary evolution and connection with honey. A destination-wide culinary competition involved public voting as well as a celebrity panel of judges including two-time James Beard Award winner Chef Art Smith.
The winning dish, "Orlando's Honey Nougat Glacé," is an Italian meringue prepared with honey, nougat and fruit confit, on a red berries sorbet from Chef Catherine Delrieu of Mon Petit Cheri.
"Orlando's Honey Nougat Glacé stood out because you could really taste the honey," said Chef Art Smith. "Yet it had this wonderful clean refreshing aftertaste – a total sweet honey bomb with a delicious tart fruit that soothes. Congratulations to Chef Catherine on this fabulous dish."
"I wanted to create something different and refreshing to showcase local honey, but with balanced flavors so that it does not become too overpowering with sweetness," said Chef Catherine Delrieu. "The entire process has been really exciting and challenging. I'm very proud to have been a part of this."
only one entry per restaurant.
With more than a month-long window for trying the desserts in restaurants and submitting a vote online, the public narrowed down the field of honey desserts to the top 10 dishes. An esteemed judging panel sampled all 10 finalists' entries and rated them on the following criteria: Execution, Appearance, Taste, Creativity, Originality, Use of Honey and Representation of Orlando.
"Orlando's Honey Nougat Glacé serves as a reminder of the eclectic, vibrant and diverse culinary scene that we have right here in Central Florida," said Orange County Mayor Teresa Jacobs. "I hope to see all of the restaurants and incredibly talented chefs throughout our region put their own spin on this dish."
Why honey? Earlier this year, a group of area chefs and food and beverage specialists met with Orange County Mayor Teresa Jacobs and Visit Orlando destination experts to consider exploring a signature dish for the region. Developed to spread awareness of Orlando's diverse dining scene, the idea to focus on a culinary competition to showcase local honey grew from that initial challenge.
Honey is both delicious and of historical significance to Orange County. European honeybees and citrus trees entered the state together nearly 500 years ago. As the citrus trees flourished in the | 541 |
Birmingham City Centre
Your top 20 amazing photographs of the year
From Instagram and Flickr to a book about Birmingham, some of the best photographs taken in the city this year.
Helen Flanagan and Scott Sinclair share pictures of baby Matilda Jessica Sinclair on Instagram (Image: Helen Flanagan on Instagram)
With most people now carrying a mobile phone which can take pictures, there has never been a more widespread interest in photography.
Special apps and sites like Flickr<|fim_middle|> in 1963
The Barton Arms 1974
The Bull Ring Shopping Centre 1964
1965 of Ladywood being bulldozed
Ikon Gallery | and Instagram have fuelled the popularity of the hobby like never before.
To celebrate the emergence of different techniques and new opportunities in Birmingham, we have selected 20 of our favourite pictures of the year.
Best 2015 Flickr and Instagram pictures
Perhaps the most natural shot is the Instagram image posted by Helen Flanagan and Scott Sinclair following the birth of daughter Matilda Jessica Sinclair.
Both parents are used to living life in the spotlight, but the beauty of this picture is that it strips away celebrity status to reveal a mother sharing precious moments with her newborn infant.
You don't need to know who the adult subject is to see how such a precious bond is the most important thing in the world at that time to both parties.
Others to take your breath away include Ross Jukes' brilliant shot of St Martin's in the Bullring at sunrise to Paul Traves' stunning timelapse image of traffic on Great Charles Queensway.
St Martin's and Selfridges in the Bullring at sunrise (Image: Ross Jukes / flickr)
Of course, it will always be true that a picture can do the work of 1,000 words.
City Hospital pathology professor Jonathan Berg recently self-published the fifth edition of his book Positively Birmingham, a series he began 25 years ago.
Sunset across Grand Central - from the top of the Rotunda (Image: Jonathan Berg)
Picking up in a much-changed city from where he left off 12 years ago, the father of four started writing the new version in March and waited until Grand Central was opened in September to complete his work.
That included spending a night in one of the apartments at the top of the Rotunda.
He captured a sunset good enough to grace the cover of his book.
Before New Year, we'll reveal some of our own favourite pictures taken in 2015 by the Birmingham Mail's photographers.
Happy shooting in 2016.
www.flickr.com/groups/birminghammail
BFI films of Birmingham
The inner ring road | 418 |
813 Cleveland St.
References in the 1891 deed of trust between Samuel Linton Leary and Mr. H. J. Webb for the Leary-Colletta House next door indicate that 813 Cleveland Street at that time was owned and occupied by S. T. Holloway, who probably had it built in the 1880s. The two- story, one-room-deep main block of the house with a triple-A roofline is enlarged with a two-story hip-roofed wing across the rear and two one-story gable-roofed rear ells. J. W. Hutchins succeeded Holloway here around the turn of the century. Hutchins was a butcher at the City Market until the late 1910s when he became vice president of City Ice and Coal; he died in the early 1920s.
When this house was built at the turn of the century, the south end was one-and-one-half stories and the north end, with the projecting facade, was a single story; sometime after 1913 a full second story was added, converting the house to its present form. The house was built in the first decade of this century. City directories reveal that it<|fim_middle|>ant of the house was grocer W. H. Hicks who lived here from around 1910 until the late 1920s.
This two-story, T-shaped frame house with a rear one-story ell has returns, patterned shingles and a lunette vent with a "keystone" in each of the attic gables. Much of the wraparound porch has been enclosed; three of the original box posts remain. Dating from early in this century, the house was occupied for many years by Mrs. Cora D. Morris beginning in the 1910s.
a simple, early 20th Century, two-story, three bay wide and three room deep, weatherboarded, Victorian, triple-A I-house resting on a solid brick foundation with a one-story, hip roof rear wing to which has been added a shed addition. The asphalt shingled roof is pierced by two interior brick chimneys and has a wide frieze board and boxed cornices...
401 North Elizabeth Street
This early twentieth-century, side-gabled Craftsman-bungalow retains much of its historic fabric. The three-bay, double-pile house has a gabled front dormer and decorative knee brackets at the dormer and main rooflines. The earliest known resident is Ernest R. Green (manager) listed in the house from 1924 to 1939.
311 N. Elizabeth St.
02.19.11 From the 1981 Durham Tech Survey of the neighborhood: facing south on a decorative brick sidewalk, is a modest, badly deteriorated, German sided, Victorian triple-A resting on a brick pier and infill foundation and resembling an I-house except for the north elevation that is two piles deep and two stories high with a gable roof and a one...
613 1/2 Holloway Street
03.03.11 At the rear of 613 Holloway is a structure I wasn't even aware of until 2011. It may be the original frame store that was moved to the back of the property when the brick store was built.
802 Cleveland Street, 1980 01.12.13
703 Cleveland St. - Howerton-Masser House
703 Cleveland, 1980 The careful preservation of this house and its siting on a manicured lot filled with mature trees and flowering shrubbery renders it one of the most distinctive houses on Cleveland Street. This two-story single-pile house with triple-A roofline and one-story rear wings was constructed in the 1890s by R. T. Howerton. Howerton... | had a series of occupants from the late 1910s to at least the early 1930s, indicating that it may have been rental property, its status today, at an early date.
This symmetrical one-story hip-roofed house appears to retain all of its original exterior features. Decorative boards in alternating notched and sawtooth patterns adorn the large attic gables above the front and side elevations. Sawtoothing runs at the base of the entablature, between the intricate sawn foliate spandrels at the simple, turned porch posts. The earliest known occup | 125 |
The Philippines was praised worldwide in 1986, when the so-called bloodless revolution erupted, called EDSA People Power's Revolution. February 25, 1986 marked a significant national event that has been engraved in the hearts and minds of every Filipino. This part of Philippine history gives us a strong sense of pride especially that other nations had attempted to emulate what we have shown the world of the true power of democracy<|fim_middle|> of the Philippines.
From 1986 to 1987, there were six plots to overthrow the government of President Corazon Aquino involving various members of the Armed Forces of the Philippines. A significant number of the military participants in these attempts belonged to the Reform the Armed Forces Movement (RAM). while others were identified loyalists to former President Ferdinand Marcos, who had been deposed in February 1986. Two of the attempts — the November 1986 "God Save the Queen" plot and the July 1987 plot — were uncovered and quashed by authorities before they could be operationalized.
The most serious coup d'etat against the government of Philippine President Corazon Aquino was staged beginning December 1, 1989 by members of the Armed Forces of the Philippines belonging to the Reform the Armed Forces Movement (RAM) and soldiers loyal to former President Ferdinand Marcos. Metro Manila was shook by this Christmas coup, and they almost seized the presidential palace. It was completely defeated by the Philippine government by December 9, 1989.
The coup was led by Colonel Gregorio Honasan, General Edgardo Abenina, and retired General Jose Ma. Zumel, and staged by an alliance of the RAM, led by Honasan, and troops loyal to Marcos, led by Zumel. At the onset of the coup, the rebels seized Villamor Airbase, Fort Bonifacio, Sangley Airbase, Mactan Airbase in Cebu, and portions of Camp Aguinaldo.The rebels set patrols around the runway of Ninoy Aquino International Airport effectively shutting it down. From Sangley Airbase, the rebels launched planes and helicopters which bombarded and strafed Malacañang Palace, Camp Crame and Camp Aguinaldo.
February 1986 – A tiny band of mutineers led by Marcos' Defence Secretary Juan Ponce Enrile and military vice chief General Fidel Ramos break away from Marcos, triggering a popular revolt that brings political novice Corazon Aquino to power.
July – About 400 soldiers loyal to Marcos seize the Manila Hotel and declare the formation of a rebel government. Aquino quashes the revolt after 38 hours. The mutineers were given 20 push ups as punishment.
November – Aquino fires her defence chief, Enrile, after soldiers close to him are linked to a coup plot, called "God Save the Queen".
January 1987 – Some 300 pro-Marcos soldiers take over Manila's private Channel 7 television station and occupy it for two days before surrendering to the government.
April – Another group of troops loyal to Marcos seize the army headquarters building on the outskirts of the capital, but Aquino crushes the revolt in eight hours. One rebel soldier is killed in a brief firefight.
August – Charismatic army Colonel Gregorio "Gringo" Honasan, a supporter of the ousted Enrile, leads 2,500 troops in attacking the presidential palace and several army camps. Fifty-three people are killed and more than 300 others are wounded. Rebellion collapses after 18 hours.
December 1989 – About 6,000 troops, believed led by Honasan, seize three military bases and two television stations in Manila, close the airport and bomb the presidential palace. US President George Bush backs Aquino and American F-4 Phantom jets launch "intimidation flights" over the capital in support of the beleaguered Philippine leader to help end the week-long mutiny. | . The true empowerment of democracy was exhibited in EDSA by its successful efforts to oust a tyrant by a demonstration without tolerance for violence and bloodshed. Prayers and rosaries strengthened by faith were the only weapons that the Filipinos used to recover their freedom from President Ferdinand Marcos's iron hands. The Epifanio de los Santos Avenue (EDSA) stretches 54 kilometers, where the peaceful demonstration was held on that fateful day. It was a day that gathered all Filipinos in unity with courage and faith to prevail democracy in the country. It was the power of the people, who assembled in EDSA, that restored the democratic Philippines, ending the oppressive Marcos regime. Hence, it came to be known as the EDSA People Power's Revolution.
Former President Ferdinand Marcos & Imelda Romualdez-MarcosThe revolution was a result of the long oppressed freedom and the life threatening abuses executed by the Marcos government to cite several events like human rights violation since the tyrannical Martial Law Proclamation in 1972. Former Senator Benigno "Ninoy" Aquino, Jr.In the years that followed Martial Law started the suppressive and abusive years–incidents of assassination were rampant, particularly those who opposed the government, individuals and companies alike were subdued. The Filipinos reached the height of their patience when former Senator Benigno "Ninoy" Aquino, Sr. was shot and killed at the airport in August 21, 1983, upon his return to the Philippines from exile in the United States. Aquino's death marked the day that Filipinos learned to fight. His grieving wife, Corazon Cojuangco-Aquino showed the Filipinos and the world the strength and courage to claim back the democracy that Ferdinand Marcos arrested for his personal caprice. Considering the depressing economy of the country, Ninoy's death further intensified the contained resentment of the Filipinos. In the efforts to win back his popularity among the people, Marcos held a snap presidential election in February 7, 1986, where he was confronted with a strong and potent opposition, Corazon Aquino. It was the most corrupt and deceitful election held in the Philippine history. There was an evident trace of electoral fraud as the tally of votes were declared with discrepancy between the official count by the COMELEC (Commission on Elections) and the count of NAMFREL (National Movement for Free Elections). Such blatant corruption in that election was the final straw of tolerance by the Filipinos of the Marcos regime. Former Defense Minister Juan Ponce EnrileThe Fidel V. Ramosdemonstration started to break in the cry for democracy and the demand to oust Marcos from his seat at Malacañang Palace. The revolt commenced when Marcos' Defense Minister Juan Ponce Enrile and the Armed Forces Vice-Chief of Staff command of Fidel V. Ramos, both withdrew their support from the government and called upon the resignation of then President Marcos. They responsibly barricaded Camp Crame and Camp Aguinaldo and had their troops ready to combat against possible armed attack organized by Marcos and his troops. The Catholic Church represented by Archbishop Jaime Cardinal Sin along with the priests and nuns called for the support of all Filipinos who believed in democracy. Radyo Veritas aired the message of Cardinal Sin that summoned thousands of Filipinos to march the street of EDSA. It was an empowering demonstration that aimed to succeed peacefully with the intervention of faith. Nuns kneeled in front of tanks with rosaries in their hands and uttering their prayers.
Former President Corazon Cojuangco-AquinoWith the power of prayers, the armed marine troops under the command of Marcos withdrew from the site. Celebrities expressed their support putting up a presentation to showcase the injustices and the anomalies carried out by the Marcos administration. Finally, in the morning of February 25, 1986, Corazon Aquino took the presidential oath of office, administered by the Supreme Court Associate Justice Claudio Teehankee at Club Filipino located in San Juan. Aquino was proclaimed as the 11th President of the Republic of the Philippines. She was the first lady president of the country. People rejoiced over their victory proving the success of the EDSA People's Power Revolution, the historic peaceful demonstration. Although in 2001, there was an attempt to revive People Power in the efforts to oust then President Joseph Estrada, it was not as strong as the glorifying demonstration in 1986. The bloodless, People Power Revolution in EDSA renewed the power of the people, strengthened the meaning of democracy and restored the democratic institutions of government. Continue to the 5th Republic (1986) up to the Present Time.
• People Power Revolution of 1986 that toppled the administration of Ferdinand Marcos after allegations of widespread cheating in the 1986 presidential elections.
• EDSA Revolution of 2001 that toppled the administration of Joseph Estrada after an aborted impeachment trial where prosecutors walked out after failing on a motion.
The People Power Revolution (also known as the EDSA Revolution and the Philippine Revolution of 1986) was a series of popular demonstrations in the Philippines that occurred in 1983-86. The methods used amounted to a sustained campaign of civil resistance against regime violence and electoral fraud. This case of nonviolent revolution led to the departure of President Ferdinand Marcos and the restoration of the country's democracy. It has been an inspiration for the Revolutions of 1989 that contributed to the ending of communist dictatorships in Eastern Europe.
The majority of the demonstrations took place at Epifanio de los Santos Avenue, known more commonly by its acronym EDSA, in Quezon City, Metropolitan Manila and involved over two million Filipino civilians as well as several political, military, and religious figures, such as Cardinal Jaime Sin. The protests, fueled by a resistance and opposition of years of corrupt governance by Marcos, occurred from February 22–25, 1986, when Marcos fled Malacañang Palace to the U.S. state of Hawaii and conceded to Corazon Aquino as the legitimate President of the Philippines.
• 9 p.m. – President Marcos placed the entire Philippines under Martial Law.
• 12:10 a.m. – Senator Aquino was arrested by members of the military at the Hilton Hotel in Manila while he was discussing tariff maters with colleagues.
• 1 a.m. to 4 a.m. – Marcos ordered the arrest of his political opponents, the closure of schools and communication, and the government takeover of public utilities.
• 6 a.m. – In the morning of September 23, people awoke without a newspaper on their doorsteps and with only the hiss of empty air over their radios.
• 7 p.m. – Marcos went on air to formally announce the proclamation of martial law. He imposed curfew and banned public demonstrations.
• Marcos called for a parliamentary election. None of the members of jailed former Senator Benigno Aquino's LABAN party won their races.
• Marcos issued Proclamation No. 2045, proclaiming the termination of the state of martial law throughout the Philippines. He also inaugurated the "New Republic" but retained all martial law decrees, orders, and law-making powers through Amendment Six to the Consitution. The formal termination of martial law was timed with the election of US PResident Ronald Reagan and the planned visit of Pope John Paull II in February 1981.
• As the government celebrates Barangay Day/National Thanksgiving Day to commemorate the declaration of martial law, thousands of Ninoy supporters hold a "National Day of Sorrow" and call for unity in the ranks to topple the Marcos regime.
• Elections for the Batasang Pambansa (parliament) are held. The United Nationalist Democratic Organization (UNIDO) and the Pilipino Democratic Party-Lakas ng Bayan (PDP-LABAN) coalition decide to take part. Cory Aquino, Ninoy's widow, throws her support behind the opposition candidates. They surprise Marcos by winning 56 seats out of the 183 amid familiar allegations of fraud.
• The Agrava Board, tasked with investigating the Aquino assassination, concludes that there was a military conspiracy behind the killing and implicates AFP Chief of Staff Fabian Ver.
• General Ver, 24 soldiers, and one civilian stand trial before the Sandiganbayan for the Aquino murder. Ver takes a leave of absence as Armed Forces Chief of Staff.
• Opposition MPs file a motion for impeachment against Marcos in the Batasan, citing culpable violation of the Constitution and "hidden wealth." The majority party squelches the motion.
• Marcos suddenly announces the holding of snap elections after alleged prodding from the United States.
• General Ver and all this co-accused are acquitted by the Sandiganbayan. Marcos reinstates him as Chief of Staff amid widespread protest.
• Corazon Aquino declares her candidacy for President. Salvador Laurel, who earlier has wanted to run for the same position, agrees to be her running mate.
• The Opposition makes a formal announcement of the Aquino-Laurel tandem for the snap elections.
• A heavy voter turnout and the judging of the voters' list create confusion during the presidential elections, resulting in the disenfranchisement of three million voters. Incidents of fraud, vote-buying, intimidation, and violence are reported. Election returns are tampered with. The Commission on Elections (COMELEC) tally board shows Marcos leading while the National Citizen's Movement for the Free Elections (NAMFREL) consistently shows Cory Aquino ahead by a comfortable margin.
• Thirty computer workers at the COMELEC tabulation center walk out, protesting the tampering of election results.
• Oppositionist ex-Governor Evelio Javier of Antique is murdered in front of the provincial capitol where canvassing is being held. Primary suspects are the bodyguards of the local KBL leader.
• The Catholic Bishops' Conference of the Philippines (CBCP) issues a statement condemning the elections as fraudulent.
• Attempts at regime change in the Philippines (1970–2007).
Martial Law is an extraordinary measure taken by the head of state to defend or to protect the people from extreme danger due to lawless violence, anarchy, rebellion or invasion.
• Pres. Marcos abolished Congress, shut down media establishments, and ordered the arrest and detention of thousands of people, including activists from the ranks of the youth and students, workers, peasants, the urban poor, the church among others, and opposition leaders.
• The declaration issued under Proclamation 1081 suspended the civil rights and imposed military authority in the country.
• Crime rates plunged dramatically after a curfew was implemented.
• Marcos reconvened the Constitutional Convention and maneuvered its proceedings to adopt a parliamentary form of government, paving the way for him to stay in power beyond 1973.
The majority of the demonstrations took place at Epifanio de los Santos Avenue, known more commonly by its acronym EDSA and involved over two million Filipino civilians as well as several political, military, and religious figures. The protests, fueled by a resistance and opposition of years of corrupt governance by Marcos, occurred from February 22–25, 1986, when Marcos fled Malacañang Palace to the U.S. state of Hawaii and conceded to Corazon Aquino as the legitimate President | 2,405 |
ARE AVAILABLE WHOLESALE TO RETAILERS ONLY.
We have a 3 dozen minimum order for Merchants.
This minimum can be ANY mix of style, size, and/or color of our available products.
Wh<|fim_middle|> products? | olesale items do not include retail packaging.
Please feel free to contact us regarding wholesale pricing and with any questions you may have on what styles might work best for you. We hope you enjoy our products and Thank you for your consideration!
Although we can not currently take orders from outside the United States (International ) through the web store, we can still process them via phone and email. Please don't hesitate to contact us regarding International shipments as we'd be happy to send your order. Please fill out our International Order Form for a prompt reply.
If there is a type of hosiery for which you have a need and you do not find it listed here, please let us know. We may be able to help make it a reality. The minimum order for a custom design or color is 13 dozen items (150 pair) per style, color, or size.
Wholesale inquiries from the United States, please fill out the form below.
Your clientele- To what time period or interest are you mainly selling the | 206 |
All rights and<|fim_middle|> of well-known marks and protection of trade names deriving from unfair competition.
Madrid protocol is based on trademark and administered by the World Intellectual Property Organization (WIPO). According to this protocol, an owner of a trademark can protect the trademark in 118 countries along with the European Union by filing a single application, in a single language (English, French or Spanish), with a common set of fees, in only one currency (Swiss Francs). If an applicant wishes to use the Madrid system, then he must apply for the trademark first in the national or regional trademark office before thinking of obtaining an international protection. International registration made by utilizing the Madrid system produces the same benefits as in each contracting parties designated by the applicant.
It defines the types of marks which are eligible for protection.
It provides protection of the service marks.
It establishes the rights of trademark owners.
It confers protection for marks that are well-known in a particular country.
It defines the standards about the scope and use of intellectual property rights. The rights include copyright and related rights, trademarks, geographical indications, designs, patents, layout designs of Integrated circuits and many more.
India also follows some other treaties and agreements as well. These treaties include 'Nice Agreement' which establishes the classification of goods and services for the purposes of registering trademarks and service marks and 'The Vienna Agreement' which establishes a classification (the Vienna Classification) for marks that consist of or contain, figurative elements. | privileges enjoyed by nationals of a signatory country (the country which has signed or is part of the Paris Convention) are enjoyed in other signatory countries (other member nations of the signed document) as well.
If a person has filed a trademark application in a signatory country, then the person can claim the filing date in other signatory countries but within the prescribed time period for filing in other countries.
Ensure that the citizens of any signatory country provided with certain protection of their rights in all other signatory countries. The rights include protection | 108 |
Over the<|fim_middle|> stored in LAS format files. | past quite a few years, I've written lots of software utilities. Most were for a specific one-time purpose and the other more generally useful ones never got polished up to a state suitable of being released. But some I think are in a releasable state and are shown below.
There are also several more in progress, that may appear at some stage if I ever get time to finish them. The StarView and SkyView shown below are works-in-progress with more ideas to be applied, but the current versions should be in a stable state.
See the links below and on the side menu for more details.
SkyView The SkyView software is used for determining the positions of the sun, moon, planets, stars and other astronomical bodies in the sky from the user's location.
StarStack For editing and stacking astronomical photos.
VSPair A utility for predicting the compressed air requirements when conducting VSP and Walkaway VSP surveys.
GeoTime A utility for converting between Lat-Long and UTM, and computing Julian Time, Sidereal Time and Sunrise and Sunset times from an observer's location.
LasViewer A utility for viewing and plotting oilfield well-log data that is | 236 |
The Elves I'm Not Shelving The Christian Left I'm Not Shaming
Robyn Parnell Uncategorized "instinct" and "it's genetic" lazy and inaccurate terminology, Best Book Excerpt, Bitch: On the Female of the Species, Lightsail 2;End-of-year lists, My Only Child, neurobiologist Mark Blumberg, sloppy sentimentalism, The Highwomen, The Planetary Society, Unexplainable podcast Comments Off on The End-Of-Year Lists I'm Not Compiling
Best Movie;
* Best Non-Sequel/Non-Superhero Movie;
* Top Twenty-Five Insipid Christmas-Themed Streaming Series;
* Best Spotify playlist;
* Best Nonfiction Book;
* Best Book Beloved By Critics Until Its Author Was Accused Of Cultural Appropriation;
* Top Ten Food Delivery Services;
* Best Science Podcast;
* Least Annoying Comedy Podcast Which In Fact Is Just A Gabfest
Hosted By A Likeable Celebrity Name-Dropping With His Fellow Celebrity Friends;
* Best Hostage Exchange;
* Best Cancel Culture ® Moment;
* Most Predictable Hate Speech By MAGA-Courting GOP Politicians:
* Best Surreptitious Recording of Racist City Council Members Eating Their Own
Smoothest City Officials Kicking-The-Can-Down-The-Road Regarding
Getting The Mentally Ill/Homeless Off The Streets….
Oh look, it's a blank list.
Arts & Literature, Science and Technology, Politics and Armageddon culture…. So many categories to rank and rate. But, like moiself titled this post, nope – not gonna do that. Instead, I'll offer one of my favorites, from the categorizy I'm not devising, that of Best Visual Images From The Space We Hopefully Won't Fuck Up Like We've Done To Our Own Planet (image courtesy of The Planetary Society).
Image from Lightsail 2 of Tropical Storm Mirinae, near Japan.
"The Planetary Society's LightSail program demonstrated that solar sailing is a viable means of propulsion for small satellites.
Solar sails use sunlight instead of rocket fuel for propulsion. They are one of the few technologies that could be used for interstellar travel
LightSail® is a crowdfunded project from The Planetary Society to demonstrate that solar sailing is a viable means of propulsion for CubeSats — small, standardized spacecraft that are part of a global effort to lower the cost of space exploration. Our LightSail 2 spacecraft, which launched on June 25, 2019 and reentered Earth's atmosphere on Nov. 17, 2022, used sunlight alone to change its orbit."
Excerpts from "LightSail, a Planetary Society solar sail spacecraft,"
( The Planetary Society website )
It's (still!) that time of the year again. As has become a tradition much maligned anticipated in our neighborhood, moiself is hosting a different Partridge, every week, in my front yard. [1]
Department Of Okay So I Lied
Here is one category moiself will dare to rank: Best Nonfiction Book Excerpt.
It's from one of my favorite reads of the year, zoologist Lucy Cooke's Bitch: On The Female Of The Species. Context: from the chapter on social animals, the passage cited comes from a segment focusing on a species of termites that have both a king and queen. These termites practice an extreme brand of cooperative breeding:
"…involving a division of labor between breeders and infertile working castes, known as eusociality, from the Greek eu – meaning 'good.' Although this is another highly subjective term, since in truth, it is only really 'good' for one individual: Her Royal Reproductiveness. The rest of the several million termites in the colony, other than the king, are rendered sterile and kept in their lowly castes by ingesting pheromones secreted by the royal anus, all of which makes the British monarchy suddenly seem quite reasonable."
Department Of Confessions
If moiself were compiling my own lists, of say, Songs/Albums Which Got The Most Ear-Time For Moiself, The Highwomen would be near the top. It's not a new release; the eponymous first (and so far only) album of the "supergroup" composed of American folk/country singers/songwriters/musicians Brandi Carlile, Natalie Hemby, Maren Morris, and Amanda Shires was released at the end of 2019. There's not one throwaway song on the album's 12 tracks; each time I listen I think, "Oh, that's my favorite…" until the next track plays.
Here's the confession: cynical smartass moiself can be a sloppy sentimentalist.
Yes; really.
I cannot listen to a certain song from that album without engaging in ugly bitch-baby-bawling. Which is fitting in a way, as the song is so intimate and…tender.
In My Only Child, the singer is both wondering about and trying to explain – to her "only child" daughter as well as to herself – the complicated amalgam of joy and regret that comes from having or being the only child. The Highwomen bandmate Natalie Hemby, My Only Child's lead vocalist and co-writer, has said that the song was inspired in part by her own experiences, after her "only child" daughter began asking her parents for a baby brother or sister.
To have a single or "only" child, whether by intention or circumstance, is not my life, although it easily could have been. I have two children, [2] yet when I listen to that song I think of both of them: what if either of them had been the "only" one? I think of people I know who have or are only children, who've pondered what it would have been like to have and be a sibling…who've sometimes rued – or just accepted as a benign fact of life – that they will never fully understand the experience of being able to, for example, commiserate with a brother or sister over their aging parents' care, or have someone who is not your parent but who has known you for your entire life.
The song's combination of lyrics and the aching, lead vocal whose whisper-light gentleness belies the gravity of the longing…the haunting emotional lyricism of the mother affirming a decision and also allowing for the regrets of what-ifs – it made me shake, the first time I heard it<|fim_middle|> (lure you into my web?) with these excerpts.
Noam Hassenfeld, Unexplainable podcast host:
It turns out the idea of instinct is a lot less simple than those nature documentaries can make it seem. I talked to a scientist who can't stand this word ("instinct").
Mark Blumberg (Unexplainable guest, a neuroscientist):
It's basically a covert expression of ignorance and lack of imagination. That's it….
I can't tell you the number of articles, you know, for scientific journals that I review where people just throw the word around. It drives me crazy…. as soon as you say it's genetic it means you can just skip over all the things that actually get you from that amorphous blob of an embryo or a newborn and get right to the action….
Every animal develops. It doesn't matter who you are. All of us. We all develop.
So, Mark, where does this idea of animal instinct and innate animal behavior come from? How far back does it go?
Blumberg:
It goes back a long, long way….one of the interesting aspects of it is that it actually has its roots in a sort of a religious perspective….it starts as a problem with free will and reason and good and evil….
Imagine that…(as per developing Christian theology)…in order to earn your way to heaven and hell, you have to basically make choices. You have to have free will. You can't take an animal that cannot make choices about good and evil and put them in heaven or hell. That doesn't make sense. Humans are the only ones, we have a soul, we have free will, we have rationality.
These are all ideas within the religious context, but we're not letting dogs into heaven or hell. So what you have to do is you have to deny them free will, but you have to explain what they're doing. And you say, "Well, it's instinctive."
"No, honey, it's not that I'm a shoddy dam builder – it's my own instinct, to build it this way."
The podcast host and his scientist guest go on to discuss many examples which show that behaviors we might normally think of as innate animal instincts are actually developed through experience. Some scientists use the term instinct, or genetic for phenomena that are too complex to be currently understood or which no one is (currently) interested in studying. The wording creationists and other religious folk use to describe phenomena they cannot or will not understand in any other way is, "God did it/God made it." Many scientists, including Blumberg, accuse other scientists of essentially using a more sciency-sounding version of this religious "way out," when it comes to studying and explaining complex animal behaviors (religion's "God did it." = science's "It's instinctive.").
So this idea that, you know, animal behavior is hard-coded, is that still an argument that lots of scientists are making?
Yeah, it's everywhere. They use the word like, "I'm studying an innate behavior." And they're doing it in part because they think that by calling it innate, they're making their work sound more important…more universal. " I'm not just studying behavior X, I'm studying *innate* behavior X. Therefore, anything I learn about it must be super important, must have been evolved…."
So it's partly a strategy and partly it's ignorance about what the words actually mean.
That feels like you're calling it laziness.
I am absolutely calling it laziness….
Is that why you would say that this debate is important? I mean, it seems like on the surface someone could see it as a semantic debate.
Because it…influences the way science is done (and) which scientists get the resources to do their work. It elevates scientists who are not so great, and it makes it harder for scientists doing the hard work to get the notoriety and the attention they deserve.
I see this in conferences all the time, you know, where very prominent people simply throw out the innate word or the instinct word and they get away with it because they aren't being challenged. And that offends me as a scientist….
You just have to continue to be inquisitive and not search for simple answers to complex problems. You know, this is biology. Nothing is more complex than how animals come to do the things that they do, whatever the cause. And we should be trying to understand the diversity of life and all the different mechanisms that are available.
And we probably still don't understand it all that well.
No, we're scratching the surface big time.
The full transcript is here. 22.12.07 Basic Instinct . Better still, listen to the interview.
Ahem – no, not *that* Basic Instinct
Freethinkers' Thought Of The Week [5]
"Man is a Religious Animal. He is the only Religious Animal.
He is the only animal that has the True Religion — several of them.
He is the only animal that loves his neighbor as himself and cuts his throat if his theology isn't straight." [6]
( Mark Twain)
May you have a Happy year's end, whether full of lists or list-free;
May you be careful what you attribute to (read: blame on) instinct;
May you find a song which is worth weeping to;
[2] And, unlike the song, my nursery walls were not painted pink, for either of my babes.
[3] Sometimes I skip that track when I'm listening to the album, if I decide I just can't handle red puffy cryin' eyes right now.
[4] Def. The study of animal behavior in its natural context.
[5] "free-think-er n. A person who forms opinions about religion on the basis of reason, independently of tradition, authority, or established belief. Freethinkers include atheists, agnostics and rationalists. No one can be a freethinker who demands conformity to a bible, creed, or messiah. To the freethinker, revelation and faith are invalid, and orthodoxy is no guarantee of truth." Definition courtesy of the Freedom From Religion Foundation, ffrf.org
[6] Can't close out the year without less than six footnotes. | . And it still makes me cry – softly now, but still, every damn time I listen to it, as though I am hearing the song for the first time. [3]
Department Of Faux New Year's Resolutions:
The Words We Need To Stop Misusing…
Or using at all.
As per the Unexplainable podcast, "Basic Instinct." (12-7-22).
We all grew up seeing the nature documentaries (or perhaps even took classes from professors) that used the term "instinct"- or its cousin harase, "it's genetic" – to explain how a spider knows to spin her web, or a cheetah knows what gazelles to hunt, or other multifaceted animal behaviors. Turns out, it is So. Much. More. Complicated. ® than "instinct." Recent studies in ethology [4] show that all animals, even the eusocial ones with so-called "hive minds," are also individuals who learn and adapt, make errors, etc.
Let moiself entice you | 216 |
I sit now on a stool at the kitchen counter of some random house in a suburb of what was once known as Chicago when there was a need in the world to call places by names. I don't suppose I need to call it "Chicago" for my own benefit. Humanity has moved beyond the need for proper nouns. But I'd like to hear, just once, someone say my name.
God,<|fim_middle|>'m shaking again—in a house in a suburb full of the absence of people. And I wonder to what end I am living. Am I still looking for "others"? Could I handle the existence of another "I," another ego, in this world? A world, once all your own, can it be shared? This would, I expect, sound like nonsense to someone who knows nothing but "others."
But, I look outside at the dark traffic lights and the wild gardens and the still swingsets and I... I so want to be held!
I can't get out of my mind a sentence I suppose I said as a child, or if not, then a sentence from my subconscious dream, or if not, then a sentence that has been imprinted upon the human racial memory clinging yet to secrets in my blood, for I can scarcely imagine what a child's lips would be like had they not once pursed to form these words—and I cannot shake the words. They are my source of greatest sorrow and soberest sanity. They haunt me deeply and touch me deeply. And I can hope—oh! can I hope?—that I may one day know the meaning: "Will you stay with me until I fall asleep?"
You are currently reading Eleven Years. | this place is void! All places are void! I find some comfort in little things, like beds-still-made I can crawl into and pretend was made for me, and, for some strange, great reason, trees give me comfort, are my haven and rest.
But most things now are merely reminders of what I lost, I think I lost—I sometimes wonder if not the world before was the dream and not this—that I have awakened from a prenatal subconscious into a world that is as much about me as is the world inside my mind—that the world I see began when my mind awoke—that the dream I had about "others," filling the world, driving the world, controlling the world, merely means to express a subconscious conviction that I, Humanity, am all there is to the story worth mentioning. I must be the main character. Right?
Certain things remind me more soberly of my loss (if it is a loss), my dream (if it is a dream): odd things like gardens that have forgotten that they need people in order to thrive. I know its silly. Shouldn't I rejoice that they live? But I don't think I would bear it worse if the gardens could not survive. It would mean that we mattered.
I have spoken to no one but the murmurs of the wind through vacant cities. I have seen no one but the phantoms plating billboards on I-69.
I sit—I | 291 |
Posts Tagged 'painting'
Painting is a meme.
Meme is a term coined by Richard Dawkins in his 1976 book The Selfish Gene to refer to units of cultural data which act like genes–replicating, spreading, and mutating in response to the selective demands of the culture in which they develop. Many things count as memes–political slogans, film dialogue, emergent philosophical perspectives, technological breakthroughs, advertising brands, economic principals, fashion trends, viral YouTube videos, the very idea of a meme itself, the list could go on. What matters is that it is an idea which has the power to replicate itself from one mind to another to another and sustain itself through a stretch of cultural time.
So, if one is to take the history of painting as a meme spreading from mind to mind through its history—from cave paintings to Piero della Francesca to Thomas Gainsborough to Nancy Spero and beyond—each iteration in the history of the meme mutating itself in response to its own context—then what would it mean to extend the painting meme into the context of digital computer networks? That is, assuming that painting did not, in fact, die sometime in the early 1980s, what would it mean to respond to the continually evolving painting meme in the context of ubiquitous computing in 2010? How would the painting meme be translated when a painting is still an object, but an object dispersed through the network as a mutable digital photograph, as well? This is not to say that all relevant painting must take this question of the network into consideration, but that it could be a pressing and fruitful intellectual question for at least some painters.
One way to think through an answer to this question is provided in the art historian David Joselit's recent October essay "Painting Beside Itself." In this essay, Joselit suggests that recent painters such as Julia Koether, Stephen Prina, and Wade Guyton have developed practices which allegorize their objects' own "transitivity" or continuous in-between-ness as they shuttle from one node of the network to another—from object, to photograph of object, to source material for another artist's appropriation and re-circulation, and back again, in an ongoing circulation. Works of art—here—are never situated in a static context; rather they are situated in continuous state of passage between contexts in a broader network of multiple contexts.
An alternative response to the question of the painting meme's life in the network is being developed by young artists working on or around the Internet. For these artists:
1. The computer screen is the primary surface on which painting will be viewed and, because of this, a new suite of phenomenological effects occuring between painting and viewer are opened for exploration.
2. The rate of speed at which paintings travel is atrophied when uploaded directly to computer networks and this increase in speed allows one to, then, view the flow of painting in time.
In what follows, I'll say a few more words about the relationship between painting and the computer, describe a recent trajectory of the painting meme amongst a group of Internet artists, and, then, focus, in particular, on the work of the PAINT FX collective.
It's possible that an "actual" Abstract Expressionist painting produced in the 1940s and a "fake" Abstract Expressionist painting created through the application of digital effects in a piece of software could be effectively indistinguishable when viewed through the light of the computer screen. With this in mind, some painters have shifted their concerns from those native to the paradigm of the white cube to, instead, those native to the paradigm of the computer screen. This shift has repercussions, though. For example, the phenomenological effects of painting shift from the materiality of paint on canvas to the light spilling from a computer screen. This bias towards the surface of the screen, then, nudges artists towards exploring different types of bodily shock effects. The relationship of the body to the computer screen after all is different than that of the body to the physical painting in space–computers are open circuits in which cybernetic feedback relationships between computer databases and users allow users to actively shape the mediascape they inhabit. These cybernetic relationships create a desire for clicking, scrolling, and following—dynamic motion premised on sifting through an accumulation of data rather than gazing for very long at a single pattern of light. The Internet painter, then, begins to think in terms of multiplicity, the aesthetics of the surfeit, and, crucially, a strong temporal element which transforms painting into a variation on performance art. Furthermore, jpegs, as digital files, are mutable, meaning that they can be radically transformed instantaneously at the level of code. If one wants to merely touch up a single brush stroke or slap a picture of a sea shell on the top layer of the painting, the technology is agnostic in regard to the amount of variation each of these types of alterations suggests. This mutability means that once it is part of the network, other artists and non-artists, as well, are given free reign to appropriate the image and alter it themselves, re-disseminating the mutated image through alleyways of the network which the painting's original creator could not anticipate. In other words, paintings here are a network of versions; a stream of evolving memes.
The meeting of painting and the computer is not new. MS Paint, for example, has long been mined for painting effects. In the context of the Internet, the artist Tom Moody (a former "actual" painter) has built an important practice at the interface of painting and the computer screen which has evolved into making animated gifs and placing them on his own blog and sites like dump.fm. This is not meant to be an authoritative history, though, so I'll focus on the life of one strain of the painting meme as I've witnessed it over the past two or three years.
I first began to notice artists working on painting at the tail end of the surf club phenomenon. Artists like Will Simpson, Thomas Galloway, and Travess Smalley on the surf club Loshadka, for example, were moving away from appropriated content derived from Internet surfing and towards original content created in painting software programs.
Around this time, the artist Charles Broskoski began increasingly focusing his work away from conceptual art pieces to a painting practice premised on volume, performativity, and innovations in presentation which were native to the computer screen. The artist Harm van den Dorpel was working on a similar project, in which he straddled the borders between a computer model of a work and a work in physical space and allowed that very tension to become illuminated as the work. Along the way, he raised an interesting set of questions regarding artistic deskilling and the borders between hand-made effects and automated effects. In short, the "hand of the artist" was, on the Internet of all places, becoming an interesting area to explore. Soon enough, there seemed to be an internal logic and momentum to this digital painting meme and the Supercentral II surf club and Poster Company by Travess Smalley and Max Pitegoff, pushed it further, actualizing what was in the air. A slightly younger generation of artists working on the tumblr platform and the emergence of a body of critical reflection by artists such as Ry David Bradley on his PAINTED, ETC blog continued to sustain the evolution of the meme, polishing certain presentational elements and building a community of people interested in these ideas. Painting in the network was about fast-paced collective dialogue and mind-bending abstractions. It was also about painting. The imagery of these works are often collisions between digital gestures and painterly gestures, but, generally speaking, the concern is with the tradition of painting–pre-Internet–as opposed to the animated gif scene whose roughly concurrent rise (in the net art context) posed as a nice counterpoint to the painting meme.
If one was watching, one could view the evolution of the meme as it started in a sort of experimental phase, gained some steam, developed a community, and achieved some sort of level of self-consciousness about itself. The meme here takes on its own form of life which one can watch live on the Internet.
Recently, the PAINT FX collective composed of Parker Ito, Jon Rafman, Micah Schippa, Tabor Robak, and John Transue, have developed a new mutation of the painting meme. Looking closely at what had been accomplished in the work mentioned above and also ideas at the intersection of photography, sculpture, and performance which the Jogging collective (Brad Troemel and Lauren Christiansen) was working on, PAINT FX designed an environment to both experiment with performative voices as painters and develop micro-versions of the painting meme in one ongoing stream of paintings.
Although the paintings are not explicitly associated with particular artists (there's no supplementary text on the site, at all), one can view unique voices develop as each painter builds a vocabulary of specific paint effects he's working with. One views both the development of these effects and the exploration of their usage through these unique voices. Additionally, one views both the artists engaged dialogue with the other members of Paint FX collective and the flows of specific memes threading in and out of the broader image stream.
There are, to date, just under three hundred paintings posted on the collective's very lengthy single web page–paintfx.biz. One can experience this body of work in multiple ways. There is this performative element—a fast paced call and response game in which the members of PAINT FX evolve memes. There is also the trace of this performance which exists as a totally different type of effect. The artists chose to not divide their archive up into multiple pages which one would have to click through, but instead as one very long scroll. What this choice nudges the viewer to do is consider the flow of images as an ongoing development—a long poem, say. This effect, though, is open to further versioning in relation to the type of device one uses. So, for instance, scrolling through Paint FX on an iPhone is going to be a different type of effect than scrolling through it on a flat screen computer monitor in the comfort of one's living room. PAINT FX, though, has created a platform robust enough to be dynamically experienced in a multitude of viewing contexts.
There are also other variations in how the work will be experienced which are dependent on the user's context. Let's say that one chooses to let the entire page download and start at the earliest painting, scrolling up to the most recent. One could, on the one hand, just hold the scroll button down and watch the paintings zoom by like objects outside the windows of a moving car. The style of the paintings and their sequencing on the page are instantaneously visible enough to provide an ongoing series of shock effects which increase as one continues to ride out the scroll (which lasts for several minutes bottom to top). By rapidly scrolling through this way, one gets a broad overview of the way the voices of the artists, the various vocabularies of painting effects, and various bursts of smaller memes each develop. On the other hand, though, one could also go through and carefully consider each painting. This, too, can be effective as the paintings are not merely eye candy. They are generally each labored over and carefully considered from multiple points of view before they are uploaded. Also, oftentimes, the phenomenological effect of looking at a static image on the site for a more extended point of time can be powerful. Through the practical experience of simply looking carefully and observing their own reaction to consuming images on computers, these artists have become discriminating in relation to the types of effects possible through the light of the screen. In turn, they have developed unique skills for crafting particularly optically-charged images.
Finally, the project is also a robust space for painting memes to accelerate and disseminate in the most efficient possible modes. On PAINT FX, the viewer watches the lifeform of memes develop in a sort of real time. On the one hand, this is frustrating because one can't hold out much hope for an individual painting to maintain a level of qualitative power after a few days and weeks as it becomes swallowed up in the flow of the entire project. On the other hand, if one refocuses the way they view the project in terms of following this flow, new categories of aesthetic experience are opened up.
On the Internet, the meme of painting has developed ways in which to increase the efficiency and acceleration of the dispersal of its own versions. Keywords here are "speed" and "immediacy." A question which the Internet hasn't effectively explored as of yet, though, is related to the ethics of this acceleration. Now that one can view painting in motion, a question and a way to perhaps further evolve the meme may revolve around where this acceleration is headed and why.
Tags: digital, internet, meme, paint fx, paintfx, painting
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Friday, July 23rd, 2010
The democratic culture of the Internet (blogs, YouTube, Wikipedia, etc.) is increasingly a part of daily life. If somebody wants their voice heard, they can do it with a couple of clicks. However, as this democratic culture creates more instantaneously available media on a daily basis than anyone could possibly consume in a lifetime, a tension emerges in which each of these individual units of media is transformed into noise. In this scenario, both Proust and pornography flatten out in value to right around zero – each just a drop of water in a continuously expanding ocean.
Information theorists like Claude Shannon and Norbert Weiner discussed this problem in the early days of cybernetics research. Information is a ratio of signal to noise. The more noise – or entropy – in a system, the less clear the information. On the Internet, there is so much culture that it becomes like what Weiner, in a different context, called a "Niagara of entropy." There are so many people shouting in the room that one voice cannot be heard clearly.
For a contemporary artist, this scenario poses an interesting problem. In prior models of media dissemination it was difficult for an artist's work to reach large public audiences, critics, or curators without the artist being based in one of a handful of cities or receiving support from a commercial art space or a not-for-profit art institution. The democratic culture enabled by the Internet, though, allows for anyone and everyone with a connection to have their work viewed by both casual audiences and international arts professionals. This means that an aspiring young artist is now able to radically disseminate her work. The flip side of this situation, though, is that the meaningful value of this work becomes relatively minuscule because it's now just one drop in an ocean of other works. As an artist uploads a work to the Internet, the chance that it will be viewed by more than a handful of people or reflected upon for more than a couple of minutes is minuscule due to the massive amount of other media through which it's competing against. The artist, then, is left in a tangle: what's the point of making anything if, at best, the work becomes a viral meme for a couple of hours and, at worst, is completely ignored by anyone other than the person that uploaded it? For some, I guess, this is the dream of the Internet in which the postmodern death of the author is made official and all culture just swirls around as anonymous memes. For others, though, it may be frustrating.
One artistic stance in response to this question takes an ongoing, constructive approach to creating meaning on the Web. This stance sees that, if there is meaning in this context, then it is accrued through the ongoing performance of an artist making individual works through time – less the individual work and more the ongoing exhibition of multiple instances of work.
Before continuing, a step back in time:
Pablo Picasso began to consider the location of his art as residing in his entire ongoing practice – one action after another after another. Picasso wrote, "Paintings are nothing but research and experiment. I never paint a picture as a work of art. Everything is research. I keep researching, and in this constant enquiry there is a logical development. That is why I number and date all my paintings. Maybe one day someone will be thankful for it." For Picasso, who pictured himself as a blind minotaur crashing his way through a labyrinth in many of his paintings, the work occurs in the cumulative effect of his ongoing search for meaning; each individual painting functioning as a piece of "research" conducted in the name of this search.
As Leo Steinberg demonstrates in his long essay "The Algerian Women and Picasso at Large," Picasso's medium is not even painting at the point in his career in which he made the "Algerian Women" paintings, but, rather, "the artist" – in this case, the artist performing an allegorical quest for a "realistic" two-dimensional representation of three-dimensional perceptual space. It is, for Steinberg, only through the catharsis of following this performed myth wherein the most powerful meaning of Picasso's work is realized for his audience. As such, Steinberg takes it upon himself to critique the performance as a whole, subjecting Picasso himself to the lens of "the work of art."
In re-constructing the historical drama of a myth surrounding Picasso, Steinberg painstakingly re-constructs the order of historical events, giving the viewer a sense of Picasso's evolution. One can surmise that the essay was something of a labor of love for the author to construct due to, if nothing else, the raw amount of time consumed in traveling to see these dozens of works in dozens of museums and other collections all over the world.
And that's the wager of Steinberg's analysis – it operates on a highly privileged scale and, as such, describes things that are effectively impossible to view for anyone but an academic art historian with an expertise in that particular field. For almost anyone else, be they casual art fans or enthusiastic ones, access to Picasso's work is limited to the handful of art museums one has the ability to visit firsthand in the course of one's lifetime. Because of this limit, Picasso's audience cannot easily appreciate the work as an ongoing performance.
Viewed through the lens of the Web, though, this distance between dramatic stage and audience is dramatically squashed. When an artist uploads a work, anyone with an Internet connection can view it. Furthermore, the vast majority of work – from artists working both on the Web and outside of it (such as painters [even dead painters like Picasso]) – is now viewed in the context of the artist's chronological development as it is displayed on a Web page. That is to say, the idea which Steinberg is at pains to describe in regards to Picasso – the artist's self-authoring performance of the role of "the artist" in time – becomes, on the Internet, automatic.
The artist's website, as a publicly accessible database, may be followed by a public interested in the artist's work. As an artist continues to create work, this creation is knowingly performed – one views the drama of an unfolding practice in which each "move" is in dynamic dialogue with past practice as well as a navigation into future practice. If I encounter the work of the contemporary artist through their managed presence on the Internet and I do it again and again and again and again, then this managed presence itself becomes a performative work.
There are many examples of this type of approach to making work in the context of the Web. One of those examples is Poster Company by Travess Smalley and Max Pitegoff.
Poster Company is a Flickr page consisting of over two hundred paintings produced between July 2009 and May 2010. In this project, the artists, first, focus on collisions between automatic effects which read as either "painterly" or "digital," and, second, shift the focus of their labor in the work from the production of the individual painting to the performance of producing many paintings over the course of months. As such, their work is in dialogue with the painter On Kawara's Today series and Josh Smith's influential painting project – each of which are meaningful when considered as reactions to the automatic reproducibility of images as well as an ongoing, long-form performance.
The question "what is a digital painting?" (a noun) is here better phrased as "what is digital painting?" (a verb). The significance of Poster Company's work lies not in the individual compositions, nor in the volume of output (although these elements are undeniably crucial for the full execution of the work to occur), but rather in the performance of the work.
In many ways, digital technologies and the Web make life easier for those who use them. This ease, though, frustrates the sense of accomplishment and meaning involved in laboring over something. When everyone can easily broadcast themselves on the Web or create a modern art masterpiece with a few clicks of a mouse, these actions become meaningless. In the face of this quandary, some artists have conceived of art production less in terms of the creation of a single work and more in terms of the performance involved in creating multiple works over time which an audience may follow live.
Tags: art history, digital, effects, fx, max pitegoff, meaning, painting, performance, poster company, technology, time, travess smalley, web
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Monday, July 12th, 2010
Tom Moody
Tom Moody is best known today as commentator on the net art scene and a member of the animated GIF and meme sharing community on dump.fm. However, he is also an accomplished painter and a pioneer in employing consumer-quality paint software applications in a fine art context. Throughout his career, his works have provided mesmerizing DIY optical effects balanced with thoughtful considerations of the impact of technology on image production, particularly in regard to the tradition of painting. This text is an overview of some of his work.
Tom Moody was born in Texas and attended high school in Northern Virginia. He received a BA in English Literature and Studio Art in 1977 from the University of Virginia, did a year in the BFA program at the Corcoran College of Art and Design in Washington, DC from 1977 to 1978, and, following his year at the Corcoran, a summer semester at the School of the Visual Arts in New York City. Following his education, Moody returned to Dallas, Texas as a painter.
A successful early body of work from 1979-1980 is a series of black and white photorealistic portraits of his male high school friends. Photorealism was an established movement by the time Moody made these paintings, but his facility with the technique (they could be installed comfortably with Chuck Close's Phil from 1977) and his embrace of the banal photographic portrait as his subject matter point to his interest in the movement's conceptual underpinnings. By laboring to create hyperrealistic photographic effects and employing banal subject matter, the work opens the door to a deeper subject—photography itself; or the use of paint to demonstrate for the viewer what photography, divorced from the photographic print, looks like. This interest in exploring the formal aesthetic of an imaging technology is a strategy that Moody continues in his embrace of the lo-fi digital affects embedded in the Microsoft Paintbrush, Microsoft Paint, and Adobe Photoshop tools.
Another key work from this period is Wired Self Portrait (1978), a black and white photorealistic self-portrait depicting the artist wearing bug-eyed novelty sunglasses and standing in front of a bank of electrical meters. The painting is connected to a piece of "hardware" (a white machine about the size of a home printer or fax machine with rows of black knobs whose function is unclear) via two telephone cords inserted into Moody's neck. This imagery recalls Frankenstein and A Clockwork Orange and anticipates the cyberpunk movement in literature. Additionally, the depiction of the painter as a cyborg can be thought of as a harbinger of sorts for the direction Moody's involvement with painting will take.
By the early 1990s, Moody had developed a brand of optically-charged abstract painting, developing his own style and visual vocabulary. Many of the motifs present in his computer-based painting such as concentric circles, serialized rows and columns of illusionistically-rendered spheres he calls "atoms," and graphic depictions of molecules as networks of nodes and edges are present in his painting from this period.
As Moody developed this brand of abstract painting, he began meeting other painters from Dallas and Houston who were also exploring abstract effects. These painters, including David Szafranski and Jeff Elrod, became grouped into a movement that Art in America covered in a 1995 article by the art historian Frances Colpitt.
What set Moody's work apart from the other painters in this scene, though, was his approach to the ground of the paintings. Instead of painting on canvas, Moody painted directly on, on the one hand, the packaging of consumer goods such as cereal boxes and promotional-size Advil boxes, and, on the other hand, computer print-outs of his own art criticism, re-arranged to disrupt the narrative or argument of each piece, that he would then tape together into grids. These gestures add an explicit layer of conceptual meaning to Moody's work. In regard to the works painted onto his own art criticism, the abstract imagery does work on a purely formal level, but this formal level is complicated by the layer of jumbled art criticism upon which it rests. The paintings are, in part, about the making of abstract paintings, including the complicated legacy of Modern art discourse.
It should also be noted that the application of paint in these works is often crude, the method of taping-together the computer print-outs of the writing lacks polish, and the consumer-quality of the paper itself is not sensuous in the way that canvas is, giving the paintings an over-all lo-fi, rough-around-the-edges quality. However, at the same time, the paintings' embrace of this rawness is both intentional and self-aware. Part of the aesthetic becomes about a sort of garage rock DIY-ness.
Just as the Art in America article was released and the painting scene Moody was involved in began to receive national attention, though, many of its members, including Moody himself, had left or moved elsewhere. In Moody's case, he moved to New York City, taking a clerical temp job with plenty of downtime.
With all of the downtime he had at this job and his interest in situating himself somewhere in the New York art world, Moody began to think of this office as an art studio. The computer consoles at the office employed out-of-date versions of Microsoft Windows and the paint software application, Microsoft Paintbrush, which, even by the late 1990s, was itself out-of-date. Moody embraced the banality and technological obsolescence that these tools offered, creating pixelated iconography that he would then print-out onto shades of yellow, pink, blue, and white copy paper. He would also, in some pieces, create signal distortions from his console to the office printer, resulting in jagged, pixelated lines along the paper that add a further level of formal pattern. Moody then cut these print-outs up into asymmetrical shapes and re-combined them into a painting using linen tape on the back surface of the paper.
When displayed at a large-scale (as they were in Moody's solo show at the Derek Eller Gallery in 1998 and the "Post-Hypnotic" exhibition that traveled from the University Galleries at Illinois State University to multiple venues between 1999 and 2001) the patterns of the cut-up paper, punctuated by the simple black icons printed on their surface, resist the humbleness of their materials and give off a mesmerizing optical pop.
Additionally, the slight crinkle of the manipulated copy paper and the patchwork re-assembly of the cut-up pieces create a "quilted" effect on the surface. The reference to a quilt has a particular resonance for Moody. As a metaphor for the way the Internet works, the quilt takes on a different set of characteristics than would the "web," "network," "cloud," or "information superhighway." For example, the quilt is highly tactile and often associated with femininity. In a 2005 interview with the artist Cory Arcangel on Rhizome, he comments on this, stating:
In the late '90s I was impressed by the writing of cyberfeminist Sadie Plant, who opened up for me a whole organic, non-analytical way of looking at computation. She traces digital equipment back to one of its earliest uses, as punchcards for looms, and talks of the internet as a distributed collaborative artwork akin to traditionally feminine craft projects. At the time I was drawing and printing hundreds of spheres at work and bringing them home, cutting polygons around them, and then taping the polygons back together in enormous paper quilts.
There is also an embrace of lo-fi digital imaging in these works in which the rasterized pixel is not cleaned-up as one would find in contemporary imaging software, but rather visible as an indexical account of digital processes. The sight of these digital traces in the imagery demands the viewer to consider the fact of the computer in the process of image-creation. What appeals to Moody about this is an embedded acknowledgment that new media technologies are limited; always already on their way out the door. This doesn't make them useless as a tool for art creation, though. On the contrary, the aesthetic or medium of an obsolete technology can be beautiful precisely because it understands its own inevitable obsolescence. As he writes in his artist statement, technology is "a tool, not magic, and possesses its own tragicomic limitations as well as offering new means of expression and communication."
What is also interesting to consider about the way Moody made these works is his clandestine re-purposing of the technologies around him at his bland office job. He was making objects, yes, but also re-thinking the place of the traditional painting studio and perhaps even creating a portrait of the Gen X-era, mind-numbing corporate milieu in which he was situated. The curator Richard Klein picked up on these aspects of the work, curating him into the "Ink Jet" exhibition at the Aldrich Contemporary Art Museum in 2000. As did the painter Michelle Grabner, who showed this work in the "Picturing the Studio" exhibition she co-curated with Annika Marie at the School of the Art Institute of Chicago in 2010.
During this period of Moody's career, he also created a controversial series of portraits on the Microsoft Paintbrush application depicting physically attractive women whose images he found in print magazines. In each of these images, Moody would "perfect" the features of the already idealized women using the digital tools at his disposal, bringing the eyes closer together or further apart, making the nose smaller or bigger, etc. There is something uncomfortable about these images as they were carefully studied, drawn in a piece of software, and digitally "perfected" by a male artist without the female model's knowledge. One is provided a sort of unfiltered access to the male gaze. Furthermore, the black and white, pixelated images provide an un-realistic, clearly computer-created look to each of the subjects, which makes them not erotic, but unsettling. The women's bodies are even further abstracted, even more on view as commodity objects than they are in the print magazine. Like the artist Richard Prince before him, though, Moody walks a fine line in these works between purely fetishizing a woman's body and providing a self-critical portrait of this very act. Perhaps their success as artworks is the inability of the viewer to reach a synthesis or conclusion in regard to which side of that line they exist on.
Through the early 2000s, Moody would continue to work in many different veins, both on and off the computer, in most cases combining processes occurring in both locations. One of his most familiar icons, the molecular model, is an apt metaphor for this approach to artistic process between virtual and physical space. The molecular model is a unified structure composed of at least two discrete parts that is itself part of a larger structure. One work, style, or location of work can be thought of as one node or one atom in a larger network or molecular structure. Taking a cue from the artist Gerhard Richter, the heterogeneity of this larger network is, in part, where the art in Moody's project occurs. His serial patterns of spheres or atoms, in which the focus is on a multiplicity of atoms in a larger pattern as opposed to a single atom, can be thought of in a similar way.
Within this rhizomatic structure, though, one of the modes of production Moody returned to quite often is the one he developed in his temp office job—creating imagery in a piece of software, printing (and often re-printing…and further re-printing) the image out onto relatively inexpensive consumer-quality printer paper, cutting it up into asymmetrical shapes, and finally re-combining these shapes using linen tape on the back surface into large, optically-charged rectangular paintings.
As this body of work developed, the patterns became more varied and visually maximized, developing into intense compositions with echoes of Russian Constructivism and late Kandinsky. Additionally, the paper he worked with became increasingly white in color—a reference to his own vocational shift from the corporate office to the home office.
At around the time that these works achieved a level of self-consciousness within Moody's project, though, he began to focus elsewhere, exploring the animated GIF file as a robust Internet-native art media. Moody had long posted digital drawings and paintings onto his blog, but with the GIF he found a more immediately powerful tool to make paintings expressly for the screen.
GIFs are short, looping animations, composed of a relatively small amount of frames and file size. They have been a part of the vernacular visual lexicon of the Internet since the earliest days of the World Wide Web and have recently seen a surge of interest amongst digital natives on platforms like Tumblr and the website dump.fm. Part of the appeal (or, for some, lack thereof) of GIFs is the sense that they are aggressively, endlessly instantaneous and, hence, work well for communicating lowest common denominator images and ideas. However, this very crudeness also makes them particularly robust files to distribute socially, giving them a potential political efficacy that resonates with Walter Benjamin's understanding of photography and cinema in the early 20th century.
Moody's embrace of the GIF came through the use of his pioneering art blog (that itself was the subject of a 2007 exhibition, "Blog," at artMovingProjects in Brooklyn). He found that, as an Internet native media, GIFs, in a way, effectively cut out the middle man to showing paintings online. A photograph of a painting is often a poor substitute for the phenomenological impact of a "real" painting. If one's painting is going to be viewed far more often in the context of a website or blog (as Moody's work was) than why not make digital paintings? Furthermore, why not make those digital paintings move, catching the hyper-wandering Internet surfer's eye? And, finally, why not use a file type associated with viral Internet meme culture, providing the paintings with a dynamic life outside of the artist's website? With these points in mind, Moody began to experiment with GIFs.
Like his ink jet painting works, the GIFs embrace visual immediacy, pixelation hearkening to a form of technological obsolescence, and a rigorous economy of materials that result in a certain roughness in appearance. One of his most widely-viewed GIFs (and, if not the first, among the first GIFs to be purchased explicitly as a work of art), is OptiDisc (2007). This is an eighteen-frame animation depicting concentric circles that alternate at uneven intervals in color from black to red to blue to white, creating a crude, but hypnotic effect. The work resembles a target, a Modern art favorite famously used by Jasper Johns and Kenneth Noland. However, while Moody's target possesses the same sort of visual punch that these others painters generated, there is also an embedded commentary about progress, be it technological or artistic, occurring here. Through the use of pixelated imagery, a pointedly small file size, and the uneven temporal intervals of the circles' alterations in color, OptiDisc is at once both dynamic and pathetic, visceral and antiquated. This tension is what makes it interesting to think of as a work of contemporary art. The critic/curator Paddy Johnson, in her commentary on the work in the "Graphic Interchange File" exhibition text, writes that the GIF's "emotive qualities last only as long as Moody allows a reverence for technology – in Moody's world modernism is only an afterimage, its spirit eventually replaced by mechanical functionality."
Recently, Moody has continued to work with GIFs and also created a series of large glossy prints made with Paintbrush, Paint, and Photoshop. These prints feature complex layers of abstract iconography, much of which is created with a "spray paint" tool, as well as the representation of a crudely-drawn brick wall that functions as both a reference to the Modernist grid and to a wall tagged with graffiti.
This blurring of the polish of Modern art and the rough, democratic aesthetic of street art is a fitting description of Moody's artistic project in general. One of the acknowledged inspirations for his painting process comes from cyberpunk literature. As Moody describes it, cyberpunk inherited the British New Wave's dystopian, yet hauntingly beautiful, near-future science-fiction vision, mixed it with a dose of cutting-edge computer science, and threw in the science-fiction novelist Samuel R. Delaney's "street kid" protagonist, resulting in a scrappy form of visionary pop. One can see Moody, then, as a breed of cyberpunk artist–critically exploring the new, avoiding pretension, and approaching authenticity.
Tags: art, bio, computer, cyberpunk, default, digital, gif, lo fi, microsoft, nasty nets, new media, paint, paintbrush, painting, photoshop, print, spray paint, studio, tom moody
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Brandnewpaintjob.com, an ongoing blog by Jon Rafman, is composed of (as of today, anyway) almost<|fim_middle|> art historical style than it does digital and "new."
One views what might be taken for a 3D "metal fence" (3D in the sense of digital "3D animation" not trompe-l'oeil) through which undulating chunks of lightly-shaded colors which might be taken for "stingrays" pass through and intermingle with small, concentric circles of color which might be taken for "eyeballs."
And, in the upper image of the diptych, one views a similarly surrealistic arrangement of iconography; however, in this case, the icons do not read solely as "painterly" or solely as "digital," but rather as a collision between the two.
The background and immediate foreground here are composed of graffiti-like scribbles created with a tool that automatically re-produces this "real world" effect, and the middle-ground of the image is composed of a series of "3D" representations of what one might take to be "vertebrae" extending not in a straight line (as in a spine) but in a wild swirl throughout the space of the image.
It should be said, though, that as with the images in the diptych mentioned above, these more digitally-inflected images are themselves each well-executed and sort of privately powerful, but perhaps lack the bodily shock effects which the various avant-gardes of art history are interested in.
Which would be fine – perhaps Broskoski isn't interested in that sort of thing – were it not for the fact that, if one is up for it, there's another way to view what's going on here with its own unique shock:
When the artist places these paintings in conjunction with one another and in the context of an ongoing stream of paintings which a viewer might follow (as in a performance) on his website, the viewer's lens on the work here is nudged away from each of the individual images and closer towards the legible pattern of filtration through which the individual images stream.
The shock of shifting one's lens from such simultaneously well-executed and differently well-executed images creates a space of indeterminacy – a sort of surrealist heterotopia picturing less space than movements in time.
Tags: 3d, charles broskoski, digital, fauves, images, matisse, maya, painting, performance, surrealistic, time, virtual, website
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Thursday, May 13th, 2010
"Nothing To Blame But Gemini" is an installation of fourteen works by Whitney Claflin now on view at Real Fine Arts in Williamsburg.
The installation is composed of one-half modestly-sized abstract paintings produced by the artist and one-half similarly-sized glossy posters printed-out by the artist which themselves each depict an abstracted detail of one of her own abstract paintings (not – it should be noted – the paintings in this particular installation, though).
The first thing to say about the installation is that one isn't immediately sure which of the works here are the paintings and which of the works here are the posters as they're each roughly the same size and they each depict iconography which one reads as "painterly" – drips, slashes, goopy brush strokes, etc.
(If one were to view the works through a computer screen [or a printed-out checklist], it would be effectively impossible to differentiate them via their media [rather, the "take away" message – in that case – becomes the sign of "painting," or, alternatively, of "art."])
However, as one spends time with "Nothing To Blame But Gemini" (as in the case [if one goes for this sort of thing, anyway] of spending time with a person born under the sign of Gemini), what at first glance appears to be singular, gradually reveals a strong duality.
The key variable of difference between these works is their materiality as objects – the paintings are sculptural, tactile; the posters are flat, glossy.
In the paintings, one views onto a surface molded by the artist – that is to say, a phenomenological space – the action occurred "here"; in the posters, one views into a surface automatically printed-out by a machine – that is to say a conceptual space – the action occurred "out there."
Going one step deeper, the surface of the paintings calls to mind production as the location of the work (present tense), while the surface of the posters calls to mind both pre-production as well as post-production as the location of the work (past and future tenses).
And, at this point, if one is willing to go this far with the work, another layer emerges wherein each individual image harnesses these very tensions between "the hand of the artist" and "automatic effects."
For example, in the painting works, collisions emerge between, on the one hand, the application of objects (broken ceramic, pieces of canvas, newspaper, string, glitter, etc.) which automatically produce iconographic elements and, on the other hand, the artist's application of paint which manually produces iconographic elements.
And in the poster works, collisions emerge between, on the one hand, the data of the photograph which automatically produces iconographic elements and, on the other hand, the artist's digital manipulation (using "painterly" effects in an image editing software) of the photograph which manually produces iconographic elements.
Finally, the painterly gestures in the works themselves (be they conducted with paint or pixels) point one in the direction of these dialectical tensions as they reveal an indeterminacy – a hesitation to settle anywhere for certain.
One views wiggling lines and almost haphazard juxtapositions of iconography and media; things never quite coalesce.
However, if one is willing to think of the work occurring here as located less in the individual objects, and more in the dialectical tension pictured by the installation as a whole, then suddenly a strong, singular point of view reveals itself.
Tags: art, automatism, conceptual, dialectical, material, nothing to blame but gemini, object, painting, poster, real fine arts, tension, virtual, whitney claflin
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Friday, April 2nd, 2010
Right now, on the main page of Charles Broskoski's personal website, one views paintings created with digital tools as well as clocks which read-out the amount of time passed since each artwork was initially uploaded to the site (in this case, for the more recently uploaded painting "2 days ago…" and, for the less recently uploaded painting "3 weeks ago…").
One, thus, views both the paintings and the paintings' built-in obsolescence.
The most recently uploaded painting, Avocado, is a token of a traditional painting genre – the still life with fruit; on the other hand – with its ghostly, blurred brush work which fights to keep from dripping down (to the past of the artist's painting) and up (to the future of the artist's painting) – the work is an allegory of painting on the computer:
Not present in space, but streaming through time, fighting for its life to be there in the room (on the screen) despite the inevitability of its passing.
That is to say:
1. A picture of avocados (they are there).
2. A picture of avocados blurring through time from future (an ideal) to past (a memory) (they're gone – ghosts).
Tags: avocados, charles broskoski, clocks, digital, haunted, main page, painting, still life, time, website | forty posts.
Each of the posts is itself composed of either (1.) a digital image depicting a 3D model, or (2.) a digital image depicting a 3D model as well as a short video clip in which a "camera" moves around the 3D model as if it were filmed in physical space.
The models Rafman uses are appropriated from Google 3D Warehouse and altered by him so that the "texture" or outer surface of the model reflects the style of (in most cases) a canonical Modern or contemporary artist.
So, for example, in the first post of the blog, Motherwell Elephant, one views an elephant whose surface reflects the rough confrontations between the colors black and white in paintings by the abstract expressionist Robert Motherwell; and, in the most recent post, David Hockney Studio Apartment, one views a modern studio apartment with natural light, expensive furniture and a flatscreen television in the color palette and iconography of David Hockney's A Bigger Splash.
In-between these examples is a series of similar collisions between a particular painting style and a particular 3D model such as Warhol Commodore (a Warhol self-portrait over the 3D model of a Commodore 64 computer) or Parker Ito Condo (Parker Ito's The Most Infamous Girl in the History of the Internet over the 3D model of an expensive looking condo apartment).
At first glance, these collisions may strike one as somewhat arbitrary postmodern one-liners; however, if one continues to view through the blog or follow its development as it happens live, then one begins to appreciate the way the posts function in greater depth.
Take, for example, Pollock Tank.
Pollock's infamous dripping style serves here as a formal equivalent to the camouflage designs normally associated with the surfaces of a tank.
However, there are other things happening.
The aggressively armored shell of the tank nudges one towards viewing Pollock's persona and his paintings as "tank-like" – excessively private and explosive – while this very explosiveness of Pollock's canvases nudges one towards viewing the tank as itself wildly explosive (as opposed to defensive or keeping the peace).
In each of the cases presented through the blog, a similar collision between the 3D model and the painting style creates a two-way street of meaning in which the painting style says something about the model and the model says something about the painting style.
In regard to this point, Rafman writes:
A conversation is going on between the surface and the underlying structure. In this way, the clash of the cultural weight of a high modernist paintings and a mass produced vehicle is not simply another example of the blurring of the distinction between high and low culture.
It's often not immediately clear what the connections are leading towards, but this very wiggle-room in interpretation benefits the project as a whole by maintaining a certain ambiguity to each post.
For example, I'm not sure exactly what Lewitt Blue Whale or Morris Louis Penguin have to say about each of their respective collisions off of the top of my head, but in seeing the actual models, each case does make some sort of sense and part of the pleasure in the work is in thinking through why that sense may or may not exist (why is Sol LeWitt like a blue whale; why is a penguin like Morris Louis?)
Finally, when the blog is viewed as a whole, an interesting theme is demonstrated:
When viewed as digital images, canonical works from the history of 20th century painting are inevitably going to lose whatever phenomenological power they possess in the physical space of the museum.
A .jpeg of a De Kooning is not going to afford one the phenomenological "De Kooning effect" which one would experience in a traditional art space.
However, what does afford one a certain phenomenological effect on the Web is the way that, over time, it's not the style of the famous paintings that serve as art, but Rafman's performed exploration of them.
Tags: 3d models, art, art history, blog, brand new paint job, jon rafman, painting, texture
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Plato with biometric overlay by Daniel Keller and Nik Kosmas of Aids-3D is a work of inkjet print and acrylic on canvas depicting two elements:
1. The photo of a Greek sculptural bust.
2. A formal pattern of intersecting pink lines and "stars" at each of the intersection points that together map out the facial features of the figure depicted in the Greek sculptural bust.
At first glance, one views the contrast of the relatively smooth lines and monochromatic color palette depicted in the photo of the sculpture (which read as "ancient" – the photo comes across as signifying the era of Ancient Greece more than a particular artist or subject), with the rigidness and dayglo color-scheme of the lines and stars (which themselves each read as "artificial" – they create a pattern reminiscent of graphic iconography from the Transformers cartoon show and film series).
So, there's an immediate collision between two starkly differentiated iconographic elements – each of which pull one in an opposed direction.
The title – Plato with biometric overlay – points out for the viewer where to go from there.
In the context of the philosophy of art, Plato is perhaps best known for his "mimetic theory" of art in which art is an imitation of an imitation of a real thing; there is – here – a higher level of idealized, capital-F "Form" (an abstracted, immaterial idea of a bed), an imitation of this ideal (an actual material bed based on the idea of a bed) and an imitation of an imitation (a drawing of an actual bed based on the idea of a bed).
Biometric overlay, on the other hand, is a surveillance strategy employed by security professionals in order to create an abstracted, immaterial representation of a person's facial features which can be digitally stored and cross-referenced in a computer network in order to, for example, quickly see if the subject's facial features match those of anyone on a terrorist watchlist.
When the biometric overlay is placed over the face of Plato, a collision occurs in the work between one vision of idealized Form and another – one vision of Form as the transcendental space outside of the "cave" of "normal" consciousness and another vision of Form as the nightmarish acceleration of Biopower in the wake of the military industrial complex (or some such).
In their own commentary on this work, the artists lay out a similar reading.
They write:
The form has become the Form – There is no longer a need for a distinction between the particular and the universal. Plato's 'faceness' has been quantified and digitized and his biography, stress levels, horoscope, download queue, credit history and criminal record have all been cross-checked for potential threat-patternage. Are the laser lines a symbol of magic and wonder or of cold totalitarianism?
With this in mind and as one continues to view through the work, the biometrics overlay, with its diamond-like rigidity, becomes aggressive, confronting Plato's face like a muzzle or the "facehugger" alien from the Alien films.
However, against this pressure, the eyes of the philosopher – emptied out of content in the classical style – are able to momentarily resist, extending beyond the biometrics, pointing towards (without naming) something seemingly outside of any representation.
Tags: aids 3d, art, biometrics, control, daniel keller, form, nik kosmas, painting, plato, plato with biometric overlay
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Parker Ito's recent solo show at the Adobe Books Backroom Gallery in San Francisco, entitled "RGB Forever," featured eleven unframed paintings and one video.
Of the eleven paintings exhibited, one of them was The Most Infamous Girl in the History of the Internet (which is discussed in the previous post) and the remaining ten comprise a series of digital prints on canvas which (1.) each depict a wide range of subject matter and (2.) over all of which the artist applies an acrylic texturing gel in order to give the surface a more tactile, painterly feeling.
At first glance, it's difficult to see how the varying images in the series converse with one another.
One views, for example, the stock image of a bowl-of-fruit still life, a photorealistic portrait of a woman photoshopped to blur at the lower edge like a tableau vivant, broad squiggly lines which read as "digital" over a background of paint blobs which themselves read as "painterly," a cliché image of messy abstract brushwork, a wheel of gradiating digital color, an "animal portrait" foregrounded by LOLCATS – style text graphics, a collage of varying pictorial strategies from the history of art placed in a grid, nude models covered in paint, a digitally drawn rendering of a Hudson River school style landscape, and, finally, a rigid formal pattern composed of a tactile material (in fact, it's a close angle on the texture of the same canvas material Ito used to print the images in the series on).
So, as mentioned, there is a heterogeneity in subject matter here which is initially disorienting.
However, as one continues to view through this wide variety of imagery, taking the show in as a whole, one theme begins to emerge as a constant variable:
A collision between the physical act of painting and the simulation of the physical act of painting.
In each instance, a pictorial strategy or "effect" drawn from the history of painting is input into a computer, simulated through digital tools (where it gains its own currency as part of digital culture) and, then, re-output as paintings which were automatically "painted" by a digital printer.
On Ry David Bradley's Painted, Etc. blog, Ito is quoted as calling the works in this series not paintings, but "painting objects."
[…] these "painting objects" were simulating hand made things, but also referencing modes which have been typically associated with the reproductions of paintings. The whole premise of the body of work was approaching painting as "found", so I selected jpegs that referenced genres/history of painting (sorta based on wikipedia). The work is very involved in painting history and an awareness of that history, but I also believe the jpegs I selected reflect on other issues that are not so specific to this history, and are more specific to Internet culture.
With that mind, the kick of the paintings is similar whether one views them in person or on the Web.
In both cases, what one views is a painting straddling each of those two worlds.
Tags: acrylic, art history, canvas, digital, internet culture, object, painting, painting objects, parker ito, print, rgb forever, virtual, web
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Parker Ito asked orderartwork.com, a Chinese company which makes oil paintings on-demand, to create a series of paintings based on a single image which would be broadly familiar to Internet users – a stock photo depicting a smiling, blonde female wearing a backpack which (amongst its other usages) a "parked domain" company called Demand Media employs to catch the eye of Web surfers who accidentally click to the sites it owns.
The resulting work – The Most Infamous Girl in the History of the Internet – exists as both these made-to-order paintings as well as a heavily re-blogged Web meme.
In regard to the paintings, they might be considered in relation to Warhol's Marilyn series of silkscreened paintings.
Both Marilyn Monroe and "the parked domain girl" are icons of emptiness.
Monroe was a blank slate for sexual desire, the parked domain girl is a symbol of sites without content.
Furthermore, both painting series automate the painting process which, then, further amplifies the sense of an emptying-out of content.
And, finally, in both cases the artists are each interested in depicting the process of their own making as much as they're interested in depicting the icon being processed.
For example, one views Warhol's rough usage of the silkscreen technology as much as a legible image of Monroe, and one views the hands of the different painters Ito employs to create the painted images as much as a single painting of the parked domain girl.
However, at this level – the level of a process being depicted – Ito's series takes a departure from Warhol's own that allows it to exist as an intriguing version of pop art rather than an imitation of it.
What fascinated Warhol was the way that "real life" stars like Monroe developed a life of their own in the sphere of reproducible images.
Ito, though, picks up on the fact that an icon like the "parked domain girl" is not even based on a "real life" star – she's an icon who short-circuits the previous paradigm of stardom.
In the wake of the Internet, pop culture is something consumed and lived amongst; there is no need for pop to reference a real world as the real world is to a great extent pop.
A model posed for the photograph, yes, but that model is anonymous; the parked domain girl's identity is entirely native to the sphere of pop representation on the Web.
By hiring a company to create hand-made oil paintings of the parked domain girl, Ito brings her into the realm of "real life" for the first time.
His work is thus meaningful not for depicting the automated painting of a "real" icon, but for depicting the outsourced hand-painting of a "fake" icon and, in so doing, bringing Warhol's joke full circle.
Tags: china, icon, internet, marilyn, outsourcing, painting, parked domain, parked domain girl, parker ito, pop, the most infamous girl in the history of the internet, warhol
"3 weeks ago" Charles Broskoski uploaded a diptych of images, each of which depicts a still-life composed in a painterly style.
One views, in the image to the left of the diptych, a vertical composition composed of an open door that itself frames an arrangement of fruit situated on a small end table and the obstructed view of a window.
These figurative elements are each carved out in chunky, geometrically-legible units of color.
In the image to the right of the diptych, one views a similar composition whose differences with the first are localized to shifts in color and re-considerations of the given shapes of objects (perhaps most notably in the cubist-inspired centerpiece of the fruit arrangement).
Now, one might say that Broskoski's model here is not necessarily an arrangement of objects in space, but rather, a painting style – say, Fauvism.
And these particular works are apt studies of the style; they're well-executed and have a certain aesthetic appeal.
But, that said, whereas the Fauves ("The Wild Beats") were notorious for depicting objects in space in an un-realistic manner (or, alternatively, mutating their own definition of "realistic"), Broskoski's paintings lack that sort of "shock effect."
They are not wild, but tame.
The fact that these images do not catalyze the shock effects that, say, Matisse's work catalyzed in its own time should not be surprising.
After all, Matisse's work was once contemporary, but is now safely at home in Ikea or Pier One Imports; it's been absorbed and neutralized into the flow of commodified signage.
So, where does this leave Broskoski?
Well, to start, this diptych – as it is displayed on his website, anyway – is situated directly below another diptych which itself is housed under a heading reading "2 weeks ago…"
In the lower-most image of this second diptych, one views iconography reading less as painterly or in reference to any other | 3,309 |
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Museums at Home
Photo Credit: Ontario Culture Days
By: Chris Hampton
In the middle of March, around the time Ontario's museums and museums around the world closed to help stop the spread of COVID-19, the phrase "virtual museum tour" was googled a record number of times.
Cultural institutions were quick to direct audiences online toward photo galleries displaying permanent collections, explorable virtual<|fim_middle|> difficult to continue as such indefinitely. But curators and educators say what they've learned in the process will certainly change how their museums operate well after doors reopen.
David Marskell, the CEO of Kitchener's THEMUSEUM, likes to call his operation an "unmuseum." Unlike traditional models that centre around a collection of objects, THEMUSEUM aims to offer experiences. Exhibitions blend art, science, history and technology to explore topics like our climate crisis, travelling carnival in Canada and the human brain. Now, with its five floors and 55,000 square feet of exhibition space closed, THEMUSEUM is focused on expanding its virtual experience, Marskell says. It continues to offer programming for audiences of all ages, now 100 per cent online, with a calendar that includes a symposium about bees; a pantry cooking demonstration by Casey, sous chef from the Waterloo restaurant Bhima's Warung; a recurring coronavirus Q&A with grief experts for children; and a virtual wine tasting. On May 27, it will present a special online all-stars version of its popular live painting competition The Brush Off, where attendees can watch the contenders make art, listen to music from a live DJ and afterward participate in an auction for the paintings all on Facebook Live.
Even Marskell has joined the fun; he's begun a weekly vlog called "David's Bored," where he shares his own musings and memories. He says opening more avenues for engagement is critical — now and going forward. "When we're all back and everything is quote-unquote normal, we need to invest in this even more. Our virtual voice and narrative needs to grow."
Sault Ste. Marie's Art Gallery of Algoma has seen traffic to its website increase some 600 per cent, says director Jasmina Jovanovic, all since the launch of a new online community exhibition less than a month ago. For the virtual show Art Is All Around Us, Jovanovic selected 22 works from the museum's holding — some well-known, including pieces by Norval Morrisseau, Will Gorlitz and Jack Bush, and others that haven't been exhibited in more than a decade. The selection isn't thematic, Jovanovic explains; instead, she picked artworks for their colours and shapes, focusing on pieces that would be stimulating for viewers. The public was then invited to make art based on the collection works using whatever media they chose. The submissions are now shown online alongside the originals that inspired them. Community artists of all ages have responded with painting, collage, video, beading and photography. There are sculptures built from tree branches, tissue boxes and beer cans. With more than 60 entries in two weeks, the director considers it a big success.
The exhibition smartly does two things: it gets the community engaged with the AGA's collection while also providing them an outlet for creativity. Jovanovic thought the circumstances — with everyone young and old stuck at home — called for such an activity, which she hoped would have a "positive effect on mood and wellbeing." The director says the museum has learned just how important it is to "stay present online." In fact, she's already at work on the next virtual community exhibition.
The Agnes Etherington Art Centre at Queen's University in Kingston offered an impressive internet experience even before its closure. The Digital Agnes web portal is stocked and routinely updated with publications, talks, tours and highlights from the gallery's 17,000-piece collection of artworks and artefacts (which includes, kind of incredibly, four Rembrandts). In the last couple weeks, they've begun expanding their online imprint with an educational video series, called Agnes Learns, which leads elementary school-aged children on art appreciation exercises. The first instalment, for example, considers the Lawren Harris painting Athabasca Valley, Jasper Park.
Maybe most notably, however, is how the museum has moved its Art Hive sessions online. Art Hive is a weekly wellness-centered community art studio for adults conducted by a professional art therapist. No art experience is necessary. Now, its facilitator and volunteers lead meetups over Zoom. Upcoming Art Hive projects include altered books, black out poetry and camera film collage. Participants have told Shannon Brown, who's the program co-ordinator at Agnes Etherington, that these online sessions help ease their sense of social isolation because each week they get to connect with so many faces — some fresh and some familiar . "It's helping people not think so much about the news and about the coronavirus," she explains. "It's helping people to get creative and gives them a sense of empowerment … When people feel empowered they feel the ability to make change, to move through and to move forward."
Brown says that in the past, when patrons and organizers might've been nervous to try something new, like using Zoom to teleconference, people are quickly becoming more comfortable with such solutions, and suddenly "the paradigm has shifted." Events no longer have to centre on "who's in your neighbourhood," Brown says, instead, "we become a more global community. It expands our horizons in such great ways."
These are just a few examples of how our cultural institutions have responded to bring the museum to your door. For a good sampling of more digital offerings from Ontario museums — as well as museums across the nation — you should visit the Virtual Museum of Canada. The VMC, run by the Canadian Museum of History, has been investing in digital projects from the country's museum and heritage organizations for almost 20 years. Its web portal includes more than 500 online exhibitions. Some recently launched experiences include a mash-up project from Maryboro Lodge in Fenelon Falls, which uses digital sketches as well as contemporary and archival photography to view the Kawarthas region across time; there's a create-your-own-exhibit activity from the McMichael Canadian Art Collection in Kleinburg, featuring 4,000 artworks by Inuit artists from Kinngait (Cape Dorset); and another page chronicling the one-time top-secret story of military radar in Southwestern Ontario from the Secrets of Radar Museum in London.
That is perhaps the lesson learned: just because the doors must sometimes close, doesn't mean the museum must. To be sure, not every cultural institution will have the ability to virtualize so thoroughly and so quickly, but there are many ways — using some basic, everyday platforms — organizations can effectively reach visitors outsider their walls. It may happen slowly, but we can expect that soon every museum will have a digital wing, and that that wing will only expand.
Chris Hampton is an arts and culture writer based in Hamilton. His work has appeared in Canadian Art, The Walrus, The Globe and Mail, Toronto Star, CBC Arts and The New York Times.
Art Gallery Digital Museum Online Online Exhibition
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Time to Get Creative From Home?
A Closer Look at ON Culture Days 2020...
This site is an initiative of Ontario Culture Days. Learn more about our non-profit organization here.
© 2022 Ontario Culture Days. All rights reserved | spaces and video walkthroughs of the exhibitions still hung on their walls. However, as an article by the company Museum Hack points out, almost as quickly as the interest flared, it then waned. Made to compete for screen time with television, Netflix, video games, and our regular internet habits, museums right now face the considerable challenge of enhancing their digital offer to attract and hold the attention of the public from afar.
For a lot of organizations, the abrupt shift to online programming exceeds everyday skill sets, resources and, especially in some areas where broadband coverage is poor, infrastructure. Nevertheless, Ontario institutions big and small are responding to the challenge with creativity as they try to provide visitors with museum experiences while at home. A good number of the measures are experiments — stopgaps launched in the context of a crisis, which, almost all free to use, would be | 174 |
Investing in marketing can be time-consuming and expensive, especially when managed in silos and without the appropriate tracking apparatus. In almost every discussion and client engagement we have, there is some level of disconnect between the business goals, marketing strategy and tactical execution.
Most organizations manage marketing from a tactical level with one-off campaigns. While this can help move the needle in small increments, the<|fim_middle|> marketing automation tools often manage them independently; they are seldom integrated. The symbiotic relationship between sales and marketing often creates chaos because each group uses these systems differently. Thus, list management and database governance can be a challenge. Adding to this is "campaign-sprawl," which creates clutter, especially when certain inbound and outbound activities are not effectively tracked and managed. These scenarios and inaction impede the flow of information as well as capability to develop analytics.
The adage, "You get out what you put in," certainly applies to marketing. Inputs can definitely affect output. We refer to this as Marketing I/O which also includes inbound and outbound activities, all connected via CRM and marketing automation tools to deliver a unified view of all marketing campaigns and their effectiveness.
Marketing is evolving and offers a deluge of data. Use analytics to connect the dots, maximize the potential of your data, and tie all marketing activities to your business initiatives. This doesn't have to be a complex process. | results can get lost because these activities are not getting tracked and analyzed. Rather than taking a transactional approach to your marketing efforts, consider each campaign as an individual part of an ongoing project that evolves with the sensibilities of the audiences you're trying to reach.
For marketing to deliver an impactful return on investment, you need to have a clear understanding of your target audience(s), implement campaigns underpinned by a focused content strategy, and supported by CRM and marketing automation tools that are connected and synchronized.
Organizations that have CRM and | 106 |
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We are big advocates of health and | 11 |
Q&A: NASA's new carbon observatory is set for launch despite Trump's efforts to ax it
An illustration of NASA's Orbiting Carbon Observatory 3 mounted on the underside of the International Space Station.
By Deborah NetburnStaff Writer
A NASA instrument designed to track carbon in Earth's atmosphere is headed to the International Space Station next week, and<|fim_middle|>.A. Affairs: What the guy at the deli counter taught me about love
I was still recovering from breast cancer. And my heart was shattered. I vowed I wouldn't get back out in the dating world until I had worked through my fears and would take as much time as I needed to heal before attempting a new relationship. | the president isn't happy about it.
Trump slashed funding for the Orbiting Carbon Observatory 3 and four other Earth science missions in his proposed spending plan for the 2018 fiscal year, citing "budget constraints" and "higher priorities within Science." His budget for fiscal year 2019 tried to defund them again.
In both cases, Congress decided to keep the OCO-3 mission going anyway. Now it is set to launch as soon as Tuesday.
OCO-3 was built at the Jet Propulsion Laboratory in La Cañada Flintridge for less than $100 million, using parts left over from its predecessor, OCO-2. Once the carbon observatory gets to the ISS, a robotic arm will mount it on the underside of the space station so it can keep a close eye on the carbon dioxide in Earth's atmosphere.
That will help scientists answer questions about how and why levels of the greenhouse gas fluctuate over days, months and years.
"Our goal is to get really good data so we can make informed decisions about how to manage carbon and carbon emissions in the future," said Annmarie Eldering, the mission's project scientist at JPL.
Carbon dioxide makes up a tiny fraction of the molecules in our atmosphere — roughly 400 parts per million. But seemingly small changes in the amount of carbon dioxide in the atmosphere have an outsized effect on the planet's temperature.
"Carbon is really effective at trapping heat," Eldering said. "Even changing the ratio from 300 parts per million to 400 parts per million makes a big difference."
The real climate change controversy: Whether to engineer the planet in order to fix it »
OCO-3 is so sensitive that it can detect changes as small as 1 part per million. So if CO2 levels go from 406 ppm one day to 407 ppm the next, the observatory will record the increase.
Eldering, who also worked on OCO-2, spoke to The Times about the difference between the two instruments, the new information she hopes to learn from OCO-3, and how she and her team managed to keep their cool when their project seemed headed for the chopping block.
What are the main science questions you hope OCO-3 will answer?
The big science question is about the movement of carbon dioxide between plants and the atmosphere.
If you look at the ground-based data, it almost looks like the planet is breathing. Plants in the northern hemisphere take up carbon dioxide as they grow in the spring and summer, reducing the amount of CO2 in the atmosphere by a few parts per million. In the fall, the leaves drop and carbon is released back into the air.
But every year is different. There are changes in the forests in Canada. El Niño years affect the carbon cycle.
What we want to do is find drivers of the plant uptake of carbon and use that to better predict what will happen in the future. If we have a warmer, drier climate, will plants keep taking up as much carbon?
Why is it helpful to look at Earth's carbon cycle from space?
We have Earth-based data, but having a satellite observatory lets you see things in a bigger context. That includes data over the oceans that the ground-based measurements generally don't see.
Can you give me an example of something you learned from data collected by OCO-2?
In 2015 and 2016, there was a global weather pattern called an El Niño that had a big impact on the carbon cycle in South America, South Africa and Indonesia, but in different ways.
South America had drought, so the plants there were not as active and did not remove as much carbon dioxide as they usually do. In the tropical part of Africa it was super hot, so the plant material was decomposing fast and releasing carbon dioxide. And Indonesia was on fire — that put a lot of carbon back in the air.
Before we would have said, "El Niño is affecting the tropics" and just leave it at that. Now we can tease that apart in more detail, and that is really exciting as a scientist.
How is OCO-3 different than OCO-2?
The main purpose of OCO-3 is to make sure we have a continuous record of carbon dioxide levels in the atmosphere, but we are adding some new capabilities. One of those is to take a snapshot of carbon levels over an area of 50 miles by 50 miles. This will feed a bunch of science investigations of emission hot spots, like cities or volcanoes.
We can also look at how plant activity changes over the course of a day, which is something OCO-2 could not do.
How does OCO-3 work?
OCO-3 is a spectrometer that looks at Earth's surface in three wavelengths: two for carbon dioxide, and one for the type of light your eyes see. Every molecule has a unique way that it absorbs light, almost like a fingerprint, and that's what we exploit in our instrument.
If the CO2 levels are 405 ppm, we will see a certain amount of light change in the CO2 band. If it is 406, we'll see just a bit more.
President Trump tried to cancel this mission twice. How stressful was that for you and your team?
I've been over at JPL for 20 years now, and this is not the first mission I've worked on that has had funding ups and downs. We are fortunate that we have three branches of government, and that Congress is very active and has kept the importance of this work in mind as they created the budget.
My strategy for getting my work done is just to put on blinders and get the work done.
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Deborah Netburn
Deborah Netburn is a features writer at the Los Angeles Times. She joined the paper in 2006 and has covered entertainment, home and garden, national news, technology and most recently, science.
Some workers don't want a COVID-19 vaccine. Can their bosses make them get it anyway?
Many teachers, grocers and even some hospital employees are wary of the COVID-19 vaccine and don't want it. The question of mandatory vaccine requirements by employers is complicated.
Johnson & Johnson's one-shot COVID-19 vaccine grants promising response in early study
In an early safety study, Johnson & Johnson's one-shot COVID-19 vaccine produced immune proteins in more than 90% of participants.
In pandemic era, older adults are isolated but resilient, study says
An ongoing study suggests older Americans are showing resilience and perseverance despite struggles with loneliness and isolation amid the pandemic.
COVID-19 vaccine push gains steam, but many still face wait
More Americans are now eligible to get a COVID-19 vaccine, but they may still have to wait for their first shot even as supplies increase. Here's a closer look.
Children apologize to their dying elders for spreading COVID-19 as L.A. County reels
Children who spread coronavirus to their parents and grandparents are apologizing to them on their deathbeds as L.A. County reels.
At least 9 U.S. states have new coronavirus strain from U.K.
The coronavirus strain from the U.K. is now in at least nine U.S. states. Given its ability to spread, scientists expect that number to rise soon.
Why COVID-19 has left so many hospitals running low on oxygen
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L | 1,597 |
WhisperThisBlog
Horse info, comments, and whisperings
← Shut up and ride… A clinic for kids
News from the round pen… →
My movie review…
Posted on July 12, 2011<|fim_middle|> training. Smokie started his own business, Horseman's Services Limited, llc in 2006 and now works full time as an educator of the horse and rider. Smokie utilizes the training methods of his brother Buck Brannaman, Jeff Griffith, and others, as well as his own techniques learned during a lifetime of working with horses. Smokie is a published author of two books about horses and their riders, Whisper This… Not to your horse, to yourself, and his newest book Equiknowlogy 101… and numerous horse training DVDs. Smokie lives in Greenleaf Wisconsin with his sweetie Vickie, and has three grown children, Kat, Travis and Jason. He raises and trains registered quarter horses of his own, which he uses as, Cavalry horses for his hobby, Civil War reenacting, and performing in Wild West Shows throughout the Midwest.
View all posts by Smokie → | by Smokie
Well I and a bunch of my friends went to see "Buck" in Milwaukee on the 23rd and I gotta say, It's a pretty good flick! Since a lot of people are asking about what happened to me and I had a reporter from Pasadena CA ask me to comment for her article, I thought I'd post it for you. Here you go!
http://pasadenaartbeat.wordpress.com/2011/07/03/buck-teachs-hard-learned-lessons/
Straight from the school of hard-knocks, comes Buck Brannaman. As the youngest son of "Ace" and Carol Brannaman, he first came to national attention as a shy boy, who, with his older brother, had a talent for rope tricks. They were on national cereal commercials, but you might know Buck best as the horse whisperer–the man who inspired a book and later worked with Robert Redford on the movie by the same name, "The Horse Whisperer." Director Cindy Meehl's "Buck" is a picturesque documentary that tells a hopeful story about redemption through hard work and humility.
Novelist Nicholas Evans' 1995 novel was a romance about how the horse whisperer, Tom Booker, helps a young rider and her horse recover psychologically after a tragic accident. Booker was based on Tom Dorrance and Ray Hunt as well as Brannaman. Brannaman had studied under both Dorrance and Hunt although initially being skeptical of their methods.
Brannaman not only was the lead consultant for the 1998 movie version that Robert Redford starred and directed, he also was Redford's double. The movie introduced the term "whisperer" into popular usage to mean someone with special communication skills and this movie, "Buck," Meehl shows exactly what Buck Brannaman is, how he does it, what people think of him (only in the positive sense) and the limitations of his work.
Born in Sheboygan, Wisconsin, Daniel M. "Buck" Brannaman grew up in Coeur d'Alene, Idaho. Later the family moved to Whitehall. His father had a saddle and repair shop and his mother was a waitress. It was those hours that his mother was away, that Brannaman found unbearable as his father often resorted to whips and belts to keep his boys in line. And when his mother died of diabetes, things only got worse.
What saved the boys was a concerned football coach who saw Buck's bruised and welted back in the showers and the local lawman, Madison County Deputy Sheriff Johnny France. France took the boys to the foster parents who had raised him: Forrest and Betsy Shirley. Betsy appears in the documentary Forrest died in 1984. Brannaman's own father, Ace, died in 1992.
Through his clinics, Buck Brannaman did meet former Ford model Mary Bower and married her. They have children, but we only see his youngest, Reata. Reata travels with her father, bringing along a friend for a summer vacation of traveling.
We learn that in the beginning when Brannaman gave clinics, he was painfully shy and had problems looking people in the eyes. Now he's painfully frank. When a woman brings in a horse that is mean and possibly brain-damaged, he doesn't try to work miracles for the camera. The three-year-old chestnut probably should have been gelded, but the owner, a woman with 18 studs, didn't have the heart to do it.
This is where kindness and well-meant intentions won't substitute for common sense. The horse bites the experienced trainer–hard and to the bone. While Buck feels that an earlier intervention could have made this horse into a useful, behaved creature, now he sees no easy answer. The owner, showing the scar from where the horse bit her previously declares she'll have to put the animal down.
As Buck says earlier in the movie, "A lot of times, rather than helping people with horse problems, I'm helping horses with people problems."
Buck Brannaman spends nine months out of the year, on the road, giving long-weekend clinics across the nation and even in foreign countries. Earlier this year, he was in Riverside. Yet he's not the only disciple of Tom Dorrance and Ray Hunt. There are many other practitioners of what is called the Natural Horsemanship, including Monty Roberts who has a ranch and training center outside of Santa Barbara. Watching that troubled animal, one can't help but recall something that Roberts wrote about in his 2008 "The Man Who Listens to Horses: The Story of a Real-Life Horse Whisperer." (Brannaman also wrote a book, the 2001 "The Faraway Horses"). One wonders what Roberts might have said.
Meehl is telling Buck's tale and it's his side of the story we mostly hear. One wonders what other horse trainers who were mentored by Dorrance or Hunt might think, particularly in the case of the dangerous young 3-year-old.
On the personal side, perhaps digging up his first wife might have rounded things out as well.
Buck's brother, nicknamed Smokie, is alive and well. Perhaps he could have added some objectivity and balance to the documentary. Smokie is based in Wisconsin (Green Leaf). He also offers a book and DVD. Since 2004, he's been in the horse business offering training. Contacted via email, Smokie wrote:
Cindy has done a nice job in putting together a film that will no doubt play well to a wide range of audiences. Filming is outstanding, and it follows a good storyline of Buck's life as he remembers it and tells it. As in all films, especially stories re-told from memory after 35 years, there are parts I remember differently and perhaps some poetic license was used to make it play better to the audience but that's Hollywood and just business. Over all… A pretty good flick!
So I hope folks enjoy it and take away from it what I think are the good messages about life and overcoming the hardships that sometime come along in your lives. And do the best you can do to help yourself and others in whatever you choose do.
Although Smokie ended up on the same train as his younger brother, he took a different path:
I wasn't ask to be part of the movie. It's about Buck and his accomplishments. And I'm ok with that, and I am very proud of him for what he's done in his life. I joined the military after high school and made a career of it for 23 years. I still had horses through it all when duties allowed and got back into horses full time in my own way to help folks that perhaps are not on the level of the folks that ride with Buck. I'm happy working in the shadows, got over the rough spots years ago, and I have tried to do some good in the world just like a lot of other folks, not only in the horse world, but rest of society as well… There's no corner on the market, or reason for not getting out there and making things better. Not only for yourself, and your horses, but the rest of us bi-peds in the world too
According to his website, Smokie joined the U.S. Coast Guard and retired in 2000. He uses training methods of his brother Buck Brannaman, Jeff Griffith, Clint Anderson and others. His hobby is Civil War reenactments. Looks like he might be the more gregarious of the two brothers.
His brother, Buck, seems more single-minded in his work with horses. Despite the lack of critical objectivity in "Buck," Meehl's documentary doesn't fall into adulation. It does paint such a lovely portrait of hope that life gets better and patterns of violence do not have to be repeated. It shows the rewards of following your passion, of good, hard work and of gentleness and respect for others–even if they aren't human. All these things make this documentary well-worth seeing. This isn't just a movie for horse lovers, but for animal lovers everywhere. I suspect you don't have to be either to learn important life lessons from this movie.
About Smokie
Smokie Brannaman grew up on a 5000-acre horse and cattle ranch in Southwestern Montana. Working with horses, cattle and rodeoing as a professional trick roper was his way of life as a youngster. Upon graduating from high school, Smokie chose to serve his country in the United State Coast Guard. Although his military duties did not always allow much time to spend with his horses, he never the less, rode and trained horses of his own and others throughout his military career. Smokie retired in 2000 from the Coast Guard and worked as a Corporate Operations Manager for a security company. But he soon realized that his true enjoyment came from being around horses, training, riding and helping others with their horses. After working for 2 years as a stable manager for a large boarding stable, Smokie hired on at Ots Sunrise Farm to work with the young horses halter breaking, ground work and starting horses under saddle to progress to more advanced | 1,927 |
Category Archives: Programming
Programming, Station Announcement
PEE-WEE HERMAN (ME!!) GETS A RADIO SHOW ON KCRW!
November 15, 2021 Laura Cohen
For Immediate Release (Or<|fim_middle|> rap kings Jurassic 5 and the Los Angeles Latin funk band Ozomatli. With J5, he contributed "Lesson 6" to the group's eponymous EP and produced the entire record. In mid-1997 Cut Chemist recorded his album debut, Live at the Future Primitive Sound Session, with Shortkut of Invisibl Skratch Piklz. Two years later, he teamed up with DJ Shadow for Brainfreeze, and in 2001 the duo followed with Product Placement. In 2004 he issued Litmus Test, a remixed collection of his previous work. It was followed in 2006 by an album of his own productions, The Audience's Listening (Warner Bros. Records). The next year, he released another collaboration with DJ Shadow, The Hard Sell, recorded live at the Hollywood Bowl. A more concise mix, The Hard Sell (Encore), arrived in 2008. In 2010 he released the mix album Sound of the Police, which featured Ethiopian and Afro-Brazilian recordings. He returned in 2017 with the singles "Work My Mind" (with Chali 2na and Hymnal) and "Madman." His long awaited follow up artist album, DIE CUT, was released in March of 2019 and featured Tune Yards, Biz Markie, Deantoni Parks, Myka 9 and more!
Reggie Watts is an internationally renowned Musician/Comedian/Writer/Actor who currently stars as the bandleader on CBS's The Late Late Show with James Corden. Using his formidable voice, looping pedals, and his vast imagination, Watts blends and blurs the lines between music and comedy, wowing audiences with performances that are 100% improvised. Watts' first Netflix special Spatial released to massive critical acclaim, with the New York Times calling it "a giddy rush of escapist nonsense" and dubbing Watts "the most influential absurdist in comedy today." As a solo performer, Watts brand of musical/comedy fusion has led to sold out headlining tours in the U.S. and Europe, including festivals such as Bonnaroo, SXSW, Bumbershoot, Just For Laughs, Pemberton and more. This year, Watts released his own content app called "WattsApp," a techno-savvy look into his life, work, and techno junk drawer. WattsApp has all original content including a show called, Droneversations where he interviews guests while it's filmed by drones along with other fun content.
Born and raised in Tijuana and now living in Los Angeles, Ceci Bastida was just 15 when she joined the iconic Mexican ska-punk band Tijuana NO and became one of the first women to rise in the ranks of contemporary Latin rock. In 2000 she spent eight years as part of the touring band of acclaimed singer Julieta Venegas, including a featured role in her 2008 MTV Unplugged special. Bastida embarked on her solo career in 2006 with the ep Front BC, and in 2010 released Veo La Marea (I See the Tide), a mix of electronica, rock, and hip-hop that The Fader dubbed "bodacious, clicky, and gongy" and the Los Angeles Times described as "a marching-band traipsing through the Amazon rainforest." The album, which included hot-button songs about immigration and the drug war, featured guest spots by Diplo, Rye Rye, and Tim Armstrong. It earned her a Latin Grammy nomination, appearances on NPR's Weekend Edition and KCRW's Morning Becomes Eclectic, and a spot on the 2011 Lollapalooza bill. Her solo album, La Edad de la Violencia (The Age of Violence) was produced by Luke Top (Fool's Gold) & XXXChange (Spank Rock) and includes songs inspired by the rise of everyday violence in the US and Mexico—from the drug war to the Sandy Hook shooting and the Boston Marathon bombing—and by Haruki Murakami's novel Kafka on the Shore. Her latest album, an EP featuring collaborations with Aloe Blacc, Mexican Institute of Sound, Spoek Mathambo, and Mariel Mariel "Sueño" is out with Nacional Records. Bastida is also a member of the all-star band Mexrrissey, a Mexican homage to the songs of Morrissey and The Smiths. She is currently finishing her fourth album.
Over the last decade, the Los Angeles producer and Young Art label boss, TOKiMONSTA has helped define the sound of modern dance and beat music. In the process, she has received the co-signs of the biggest names in electronic and repped for the West Coast underground at the Grammys — all without sacrificing the purity of her vision or relying on exploding glowstick bombast. The secret is that there is no secret, other than the compositional genius and futuristic melodies embedded into the gleaming, technicolor mandalas of hip-hop instrumentalism, pop, R&B-soul, house, and IDM that encompass the TOKiMONSTA sound.
For more information about KCRW please contact:
Laura Cohen, LC Media, lcmediapr@gmail.com
KCRW creates and curates a unique mix of content centered around music discovery, NPR news, cultural exploration and informed public affairs. We are driven by the spirit of LA and deliver in innovative ways—on the radio, digitally and in person—to diverse, curious communities around the corner and around the world. A community service of Santa Monica College, KCRW can be found on the air in LA, Santa Barbara, Ventura, Mojave, Palm Springs, San Luis Obispo, Berlin, Germany, and worldwide via the KCRW-developed smart phone app, or online at kcrw.com.
KCRW + Henry Rollins Announce New Long-Form Online Radio Experience,"The Cool Quarantine"
April 7, 2020 Laura Cohen
KCRW + Henry Rollins Announce The Cool Quarantine
Long-form radio experience now available exclusively online at KCRW.com
SANTA MONICA (April 7, 2020) – Henry Rollins announced today a new long-form radio experience titled, The Cool Quarantine, offered as an aural respite from these stressful times. The first episode is now exclusively available online at KCRW.com, and features personal stories, deep cuts, rarities, bootlegs, full albums, EPs, and much more. It clocks in at more than four hours and features live bootlegs of the Cramps recorded by Ian MacKaye, a story about the time Henry and Ian saw Led Zeppelin in 1977 (plus a bootleg recording from that performance), audio from original Joy Division album pressings, stories about the early days of Black Flag and Dischord Records, and so much more.
Henry Rollins on The Cool Quarantine:
For many years, I've had this idea for a long-form show. I mean really long-form. Like hours. To do it terrestrially would be difficult because I would be crowding other shows out. But if it was online, hey. It's as many songs as I want, language issues are not a factor, and if anyone gets bored, they can just turn it off or mark the time they checked out and resume later. The idea is that you're in your room and Engineer X and I come over with a bunch of records. We play you songs, I tell you stories, and we do time together. Now that many of us are under some kind of confinement, we might as well get some good listening happening. Let's go long! It's kind of like the show we do on Sundays but without time constraints or worrying about FCC compliance. It's an extra slice of pizza. It will be completely indulgent. Fanatic, of course, and hopefully, as Iggy Pop, the Undisputed Heavyweight Champion Of Rock And Roll says, "a real cool time."
The first episode of The Cool Quarantine is available on-demand at kcrw.com, and via the KCRW app. Subsequent episodes will be released in the coming weeks.
For the most up-to-date information, visit: http://www.kcrw.com/henryrollinslongform
Henry Rollins is a last row of the classroom, no-count and a presenter on KCRW. He is the author of several books. He travels extensively and collects music from almost every location, which he faithfully brings to his listeners. He's at that age where he often yells, "What the hell are you people talking about?! Do something!" He thinks he's testifying before Congress. Too bad he's alone at the grocery store, addressing the soup section. If you see him, call the number on his sleeve and someone from his office will come fetch him.
KCRW's Lost Notes, Season Two, Episode One – Now Available
April 25, 2019 Laura Cohen
KCRW's Lost Notes, Season Two, Episode One, "Teenage Offenders" Now Available
Hosted by Music Journalist and Author Jessica Hopper
"People make mistakes on their way to learning the right thing." – Clif "Hanger" Croce of The Freeze
Santa Monica, CA (April 25, 2019) – The first episode of the 2nd season of KCRW's acclaimed music documentary podcast Lost Notes, "Teenage Offenders," is now available. Hosted by celebrated music journalist and author Jessica Hopper, "Teenage Offenders" tells the story of two members of the early American punk band The Freeze, now forty years later, reflecting on their lyrics and their legacy in the #MeToo era.
Rob Rosenthal and his buddy Clif Croce were in high school when they founded The Freeze, a Boston punk band, in 1978. One of the definitive compilations of music from Boston's 80s hardcore punk scene was named after a Freeze song: "This is Boston, Not L.A." The band opened for the likes of Black Flag, Fear, the U.K. Subs, and toured across the U.S. and Europe. The Freeze remains Cape Cod's longest running punk band. Like most punk bands from this era, they sang about what they were against: religion, jocks, and conformity. But they were bratty, too, and aimed to offend. Now, forty years later, Rob and Clif examine their own feelings on what they wrote decades ago.
Season two of Lost Notes examines untold stories from music history, and explores the idea of legacy. Episode two will be released Thursday, May 2, and features author and poet Hanif Abdurraqib exploring Cat Power's storied album The Greatest. Lost Notes is available for free on Apple Podcasts, KCRW's website and all other major podcast platforms.
@KCRW, #LostNotes
For more information please contact: Laura Cohen, LC Media, lcmediapr@gmail.com
KCRW creates and curates a unique mix of content centered around music discovery, NPR news, cultural exploration and informed public affairs. We are driven by the spirit of LA and deliver in innovative ways — on the radio, digitally and in person — to diverse, curious communities around the corner and around the world. A community service of Santa Monica College, KCRW can be found on the air in LA, Santa Barbara, Ventura, Mojave, Palm Springs, San Luis Obispo, and Berlin, Germany, and worldwide via the KCRW-developed smart phone app, or online at kcrw.com.
Facebook | facebook.com/kcrwradio
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YouTube | youtube.com/user/kcrw
KCRW Announces Details of Lost Notes, Season Two
Acclaimed Podcast Welcomes Music Journalist and Author Jessica Hopper as Host and Executive Producer
"Each episode of Lost Notes is an in-depth view of a story you had no idea was so essential until you start listening." – Complex
Santa Monica, CA (April 3, 2019) – KCRW is pleased to announce details of the second season of the acclaimed podcast Lost Notes – a series of music documentaries – launching on April 25, 2019. For season two, Lost Notes welcomes celebrated music journalist and author Jessica Hopper as host and executive producer.
Lost Notes examines untold stories from music history, and, this season, explores the idea of legacy. What can a song inspire in its listeners or its creators, years or even decades later? What happens when a previous generation's art is held to a younger generation's moral standard? Who is obscured by the shadow of an artist's greatness?
"With this season of Lost Notes our aim was to deepen some of the conversations around legacy," says Hopper. "We asked for story ideas from folks who had previously contributed to Lost Notes, as well as writers who I had worked with before, with no particular prompt for what sorts of stories we wanted. Many of them came back to us with stories that were retrospective, and worked to reconcile music's present and its past. This season approaches questions of artistic legacy with openness and real curiosity, and offers up stories that are new and nuanced. These episodes get into whose work, and whose story is considered worth remembering and why. Every episode gives context around the cultural forces that shaped, and in some cases, complicated an artist's career. I'm someone who is fundamentally interested in the stories of artists who have been relegated to the footnotes, so working on this season of Lost Notes has been hugely satisfying."
Lost Notes, season two episodes:
Fanny were the first all-female rock band signed to a major label; they ruled the Sunset Strip in the 1970s, and they were supposed to be the next big thing. They'll explain what it felt like to be so ahead of their time, then, and how they feel about being recognized for it now.
John Fahey's guitar playing influenced the sound of the American underground for generations. But how does that legacy change when his story is told by three of the women who knew him best?
Author and poet Hanif Abdurraqib explores Cat Power's storied album The Greatest.
Nermin Niazi and Feisal Mosleh, teenage siblings in London, made Disco Se Aagay, a fusion of Pakistani folk-pop and British new wave, in the early 80s. Arshia Fatima Haq tracks down their lost masterpiece.
A profile of Suzanne Ciani, who balanced her pathbreaking commercial work scoring Coke ads in the seventies with her work as a pioneering avant garde synth composer.
The Freeze were an early American punk band. Now, forty years later, two members attempt to reckon with the lyrics they wrote as teenagers.
In the decades since his death, jazz pianist Billy Tipton has been celebrated as a trans pioneer. Allyson McCabe looks at Tipton's mysterious life with artists he's influenced, to find the ways his story resists any simple telling.
Jessica Hopper looks at how gun violence has changed the concert going experience, but why so few people in music are willing to talk about it.
The first episode of Lost Notes will be released April 25, 2019. Additional episodes drop every Thursday. The podcast is available for free on Apple Podcasts, KCRW's website and all other major podcast platforms.
A sneak peek of what's to come on Lost Notes, season two, can be heard here.
Episodes from Lost Notes' first season were listed among the best podcast episodes of 2018 by Audible Feast, The Bello Collective, and Indiewire, praising its "outside looks at some of the best music-related tales of decades past."
More about Lost Notes season two host and executive producer:
Jessica Hopper is a Chicago-based journalist and producer. She is the author of The First Collection of Criticism By A Living Female Rock Critic (2015), The Girls Guide to Rocking (2009), and most recently, the memoir Night Moves (2018). She was formerly Editorial Director at MTV News, Senior Editor at Pitchfork, Music Editor at Rookie, and was the longtime music consultant for This American Life. Her work has appeared in The New York Times Magazine, Elle, GQ, Village Voice, and Rolling Stone, as well as Best Music Writing for 2004, 2005, 2007, 2010, and 2011. She is editor for University of Texas Press' American Music Series. She is currently at work on No God But Herself, a book about women in music in 1975 (FSG x MCD, Spring 2021). (http://jessicahopper.org)
More about Lost Notes contributors:
Hanif Abdurraqib is an award-winning poet, cultural critic and author based in Columbus, Ohio. His latest book Go Ahead In The Rain (University of Texas Press, 2019) debuted as a NY Times Best Seller. (http://www.abdurraqib.com/bio/)
Allyson McCabe is the creator of Minimum Rock n' Roll, and regularly reports on the intersections of music, gender, and technology for Morning Edition and All Things Considered. (https://www.allysonmccabe.com/)
Michelle Macklem is an independent producer and sound designer based in Canada and Australia. Her work can regularly be heard on CBC, BBC, ABC RN, Radiotopia, and Re:Sound. (http://michellemacklem.com/about/)
Rob Rosenthal is an independent producer, lead instructor of the Transom Story Workshop, and host of the HowSound podcast about radio storytelling for PRX and Transom. (https://twitter.com/howsoundtweets)
Robin Linn is a radio producer, editor, and writer for PRX's How to Be Amazing with Michael Ian Black, Illinois Public Media's The 21st Show, and an alum of WBEZ's Sound Opinions. (https://twitter.com/robnlnn)
Carla Green is a print and radio reporter for KCRW and The Guardian, among other outlets, and the managing producer of KCRW's documentary podcast UnFictional. (http://carlaflournoy.green/)
Dylan Tupper Rupert is a journalist who covers music, culture, and wine. A longtime columnist for Rookie, she is currently based in Los Angeles. (http://www.dylantupperrupert.com/)
Arshia Fatima Haq is a film-maker and visual and sound artist originally from India, currently based in Los Angeles, and a returning contributor to Lost Notes. (https://arshiahaq.com/)
Nick White (creator and executive producer) is an award-winning radio producer and editor based in Los Angeles. His work has been heard on various outlets around the world including NPR, the BBC World Service, Marketplace, WBEZ and WNYC.
Myke Dodge Weiskopf (producer) is a radio producer, field recordist, and songwriter who records under the name Science Park.
Paulina Velasco (associate producer)is a multilingual journalist based in Los Angeles. Her work focuses on immigrant communities and appears in public radio and print.
Marion Hodges is a KCRW DJ and digital contributor.
October on KCRW's Morning Becomes Eclectic Starts with a Stellar Line-Up
October 5, 2017 Laura Cohen
KCRW's Morning Becomes Eclectic
October Starts with Stellar Line-Up
The first two weeks of October on KCRW's Morning Becomes Eclectic boasts a stellar line-up; a rocking live set from Queens of the Stone Age, Dhani Harrison in his first live radio appearance in the U.S., current U.K. chart-toppers Wolf Alice, Grizzly Bear's return after a five-year hiatus, and the live radio debut of Courtney Barnett & Kurt Vile. And, Jason Bentley interviews mastermind director, and big KCRW fan, David Lynch.
Thursday, October 5, at 11:15 a.m.
October kicks off with a full on rock set from Queens of the Stone Age, highlighting tracks from their latest album Villains. Produced by Mark Ronson, Villains is glammy & groovy, and packs the rock 'n' roll punch we've come to expect. The live QOTSA performance is in advance of their appearance at Cal Jam.
Dhani Harrison (Live U.S. Radio Debut)
Friday, October 6, at 10:00 a.m.
Dhani Harrison is rock royalty. After ten years of releasing music as part of a band, the son of the late George Harrison is finally striking out with his eponymous debut album. On the day of it's release, Harrison performs selections from his forthcoming record — performed with a full band and strings — marking his first live radio appearance in the U.S., and first full band appearance worldwide.
Wolf Alice
Monday, October 9, at 11:15 a.m.
Wolf Alice, hailed by NME as the "best band in Britain" has been a KCRW fave from the beginning. In 2015, the band played the station's SXSW showcase. Less than a year later, they were nominated for a GRAMMY®. Their sophomore album Visions of a Life, is a bold move forward for a band that came out of the gate with confidence and determination. They are currently locked in a tight battle with Shania Twain for the top spot on this week's UK album chart, and perform live on-air in advance of their appearance at Cal Jam.
Courtney Barnett & Kurt Vile (Live Worldwide Radio Debut)
Tuesday, October 10, at 11:15 a.m.
Courtney Barnett & Kurt Vile are two gifted songwriters who joined forces for a collaborative project, Lotta Set Lice. The result is a perfect representation of their collective talents. The duo make their live worldwide radio debut just days before the album's release. They entertain not only with their music, but with their funny/deadpan/stream of consciousness storytelling. The performance is in advance of their appearance at Desert Daze.
Wednesday, October 11, at 10:00 a.m.
David Lynch has had an immeasurable influence on television, film and music. His groundbreaking series Twin Peaks returned this summer for it's third season after a quarter-century hiatus. Lynch's conversation with Jason Bentley addresses the show's revival, his upcoming Festival of Disruption, how meditation can bring about world peace, and how musicians are a lot like children.
Thursday, October 12, at 10:00 a.m.
Grizzly Bear took five years to craft their fifth album, Painted Ruins. It's a grand return, jampacked with the gorgeous harmonies and complex orchestration the quartet are known for. This week, they kick off their first tour in four years in Europe, which culminates in L.A. on December 13 and 14 at the Wiltern. Recorded at Apogee Studio, this exceptional live session sees the band exploring tracks from their latest album, as well as digging deep from their catalog for a fan favorite or two.
Morning Becomes Eclectic, hosted by KCRW Music Director Jason Bentley, is the station's signature daily music program (9:00 AM – Noon) featuring new releases from emerging and established artists, underappreciated gems, live performances and interviews.
KCRW creates and curates a unique mix of content centered around music discovery, NPR news, cultural exploration and informed public affairs. We are driven by the spirit of LA and deliver in innovative ways — on the radio, digitally and in person — to diverse, curious communities around the corner and around the world. A community service of Santa Monica College, KCRW can be found on the air in LA, Santa Barbara, Ventura, Mojave, Palm Springs, San Luis Obispo, via the KCRW-developed smart phone app, and online at kcrw.com.
KCRW and WNYC Studios Announce "There Goes the Neighborhood: Los Angeles"
September 21, 2017 Connie Alvarez
KCRW and WNYC Studios Announce
"There Goes the Neighborhood: Los Angeles"
An Eight–Part Podcast Series
Examining Gentrification in LA in 2017
Hosted by KCRW's Saul Gonzalez
Inspired by WNYC's Original Podcast Set in Brooklyn
TGTN: LA to Debut on Tuesday, September 26
Preview Episode Available Today
(New York, NY & Los Angeles, CA – September 21, 2017) – Today, two major public radio producers – KCRW and WNYC – announce the launch of There Goes the Neighborhood: Los Angeles, an eight-part podcast series examining the winners and losers of neighborhood gentrification, and the forces driving it in Los Angeles.
The series is a new season of WNYC Studios' original There Goes the Neighborhood podcast, which featured an in-depth look at gentrification in Brooklyn at a time when the borough had come to symbolize the phenomenon.
Debuting Tuesday, September 26, There Goes the Neighborhood: Los Angeles will explore how LA has gone from the place to chase your dreams to one of the least affordable cities in the country. The series will take an unsparing look at urban development and soaring housing prices that are expanding into previously unaffected neighborhoods such as Jefferson Park, Inglewood, and Elysian Valley.
In the preview episode, Kai Wright – who hosted the original podcast – hands the series over to Los Angeles host and KCRW reporter Saul Gonzalez. Additional episodes will tell the stories of people dealing with the realities of gentrification on an intimate level: long-time residents, property owners, and community organizers, as well as developers and neighborhood newcomers, including:
Photo by Saul Gonzalez
Cesar Vega, a native Angeleno whose bungalow in Hollywood is surrounded on three sides by enormous new apartment buildings. "The way the city approaches [all the new construction] is that it's an improvement, it's a benefit to everybody. That the rising tide lifts all boats. But I'm not sure people in small boats wrote that, you know?"
Erin Aubry Kaplan, an Inglewood resident who welcomes new businesses but wonders why it's taken so long. "People have been asking for decades for certain things, improvements, better this, better that… and somehow it only happens when this gentrification process starts. Until that happens nothing happens."
Michael Parker, an artist living downtown who's facing eviction. "If I get pushed out of the Arts District with the name of the neighborhood named after me, then I'm going to go gentrify somebody else and push somebody else out. That doesn't make me feel good."
David Schwartzman, president of Harridge Development Group. "I think there's a very negative connotation to the word developer. I mean at least the way I look at it is, I'm trying to create jobs, we're changing lifestyles, we're upgrading an area. And that's the thing, I think we are making the country better."
In addition to Gonzalez, There Goes the Neighborhood: Los Angeles will feature reporting from KCRW contributors, including housing reporter Anna Scott, data and investigative producer Miguel Contreras, and Design and Architecture host and producer team, Frances Anderton and Avishay Artsy.
"Wherever I go in L.A., I hear people talk about how worried they are about the cost of housing and just how hard they have to work to keep a roof over their heads. That fear is only heightened by gentrification and this feeling that Los Angeles is becoming one big playground for the rich, a great place if you have money, a terrible one if you don't. I think the fundamental question facing Los Angeles is whether working people can still create decent lives for themselves and their families here. If they can't, we all get hurt," Gonzalez says.
Sonya Geis, KCRW's Managing Editor, says "Whether you own or rent a place to live in L.A., you can feel the changes. Prices are skyrocketing, new building is everywhere, this is not the Los Angeles of 20, or even 10 years ago. The intention of this series is to look hard at why this is happening now and to listen to the voices of the many people who are anxious about whether they will have a place in the L.A. of the future."
"With shows like 'There Goes the Neighborhood,' WNYC's newsroom has strived to bake deep, local reporting into the surge of podcasting that is among the most vital forces in media today," said Jim Schachter, Vice President of News, WNYC. "To partner with another public radio station on a new season of one of our signature podcasts is a mark of the kind of leadership WNYC aims to demonstrate."
"We started 'There Goes the Neighborhood' in our own backyard because Brooklyn is ground zero for many of the trends and tactics developers are using to rapidly transform urban neighborhoods," said Karen Frillmann, Executive Producer, WNYC. "But, in fact, the 'Brooklyn-izing' of cities is happening all over the world and Los Angeles is another example of how the swiftly changing economy of a city can make it inaccessible to its own residents. This partnership with KCRW allows us to bring these stories and perspectives to light."
There Goes the Neighborhood: Los Angeles premieres Tuesday, September 26 at kcrw.com/theregoestheneighborhood, wnyc.org/shows/neighborhood, Apple Podcasts, and all other places where podcasts may be downloaded. The preview episode is available here.
There Goes the Neighborhood: Los Angeles is funded by a grant from the Conrad N. Hilton Foundation as part of a multi-year reporting project to tell stories of Los Angeles' most vulnerable communities. It follows "KCRW Investigates" and "Below the Ten: Stories of South LA," documentaries about the lives of Los Angeles workers and residents who find themselves on the edges of society.
KCRW creates and curates a unique mix of content centered around music discovery, NPR news, cultural exploration and informed public affairs. We are driven by the spirit of LA and deliver in innovative ways – on the radio, digitally and in person – to diverse, curious communities around the corner and around the world. A community service of Santa Monica College, KCRW can be found on the air in LA, Berlin, Santa Barbara, Ventura, Mojave, Palm Springs, and via the KCRW smartphone app and online at kcrw.com | twitter.com/kcrw | facebook.com/kcrwradio | instagram.com/kcrw
ABOUT WNYC STUDIOS
WNYC Studios is the premier producer of on-demand and broadcast audio, home to some of the most critically acclaimed and popular podcasts of the last decade, including "Radiolab," "2 Dope Queens," "Nancy," "The New Yorker Radio Hour," "Freakonomics Radio," "Death, Sex & Money," "Here's the Thing" with Alec Baldwin, "Note to Self," "On the Media," and "A Piece of Work" with Abbi Jacobson. WNYC Studios is leading the new golden age in audio with podcasts and national radio programs that inform, inspire, and delight millions of intellectually curious and highly engaged listeners across digital, mobile, and broadcast platforms. Their programs include personal narratives, deep journalism, interviews that reveal, and smart entertainment as varied and intimate as the human voice itself. For more information, visit wnycstudios.wnyc.org
KCRW: Connie Alvarez, Communications
310.314.4673, connie.alvarez@kcrw.org
WNYC Studios: Camille Ortiz, Publicist
646.829.4331, cortiz@nypublicradio.org
Warren Olney Going Deeper Into the Critical Issues Shaping Our World
August 23, 2017 Laura Cohen
GOING DEEPER INTO THE CRITICAL ISSUES
SHAPING OUR WORLD
KCRW MOVES
SIGNATURE NATIONAL PUBLIC AFFAIRS SHOW
TO PODCAST PLATFORM NOVEMBER 13
KCRW announced that starting November 13, 2017, To The Point, the signature daily national public affairs show, will be moving from the broadcast platform to a weekly podcast platform.
The final daily broadcast of TTP will be November 10th.
To The Point joins a comprehensive set of exclusive podcasts that bring a wealth of ideas and topics to KCRW listeners, including Scheer Intelligence, Unfictional, The Organist, Here Be Monsters, Off the Block, Below the Ten, Celestial Blood / Sangre Celestial, and The Document.
Warren Olney said of his tenure at KCRW, "After 25 years in commercial TV news and 25 years in public radio, I'm getting a rare opportunity for another phase in my career. To the Point is becoming a weekly podcast. Without the tyranny of the radio clock, I'll have time to explore issues that underlie the 24-7 onslaught of daily information. I think listeners will be glad to hear probing conversations about those issues without artificial limits.
"Over the years, on To the Point—and, before that, on Which Way, LA?– I've interviewed pundits, politicians, scholars, business leaders, scientists, writers, activists and comedians—representing America's diversity in multiple ways. After every program ends, I've talked to these guests, and they always have something new and interesting to say, something I wish the radio audience had been able to hear. Podcasting will allow my audience to share extended conversations that are informal, direct, engaging and informative. I'm eager to get started the first week of November."
KCRW President Jennifer Ferro called Warren Olney, "the voice of reason for multiple generations and the pinnacle of credibility for KCRW and Los Angeles." Ferro added, "He has helped us all through confusing and often frightening world and national events with calmness, clarity and intelligence. The podcast platform is perfect for his style of thoughtful conversation and what I love is that Warren is still going to be our voice of reason in a format that is growing more powerful each day. I can't wait to hear what's next because the truth is that he is truly irreplaceable."
Ferro continued, "We are building a parallel broadcast universe with podcasts. Whether they are part of our regular programming, or exclusive to this platform, they give our producers full creativity to explore stories and ideas to their potential, especially in terms of length. It gives our listeners the freedom to listen whenever it is most convenient to absorb these ideas."
Olney also plans to step up his live Los Angeles appearances. He will host a live event series in partnership with Zocalo Public Square, diving into similar issues that he will tackle in his podcast. The first event will be held on October 10th at the National Center for the Preservation of Democracy in Little Tokyo.
To subscribe to Warren Olney's To The Point podcast, go to kcrw.com/podcasts.
KCRW creates and curates a unique mix of content centered around music discovery, NPR news, cultural exploration and informed public affairs. KCRW is driven by the spirit of Los Angeles and delivers in innovative ways – on the radio, digitally and in person – to diverse, curious communities around the corner and around the world. A community service of Santa Monica College, KCRW can be found on the air in Los Angeles, Santa Barbara, Ventura, Mojave, Palm Springs, and via its KCRW-developed smartphone app and online at KCRW.com.
Events, KCRW Music Announcement, Programming
KCRW Announces Live Broadcast Schedule from SXSW
March 10, 2016 Laura Cohen
Two Official Showcases Wednesday, March 16
Santa Monica, CA (March 10) – Los Angeles-based public radio station KCRW has announced the live broadcast schedule from the 2016 SXSW conference in Austin, TX. KCRW will broadcast live from FLOODfest at Cedar Street on Friday, March 18 during Morning Becomes Eclectic (9AM – Noon PST) and Saturday, March 19 (Noon to 6:00 PM PST) with DJs Anne Litt and Raul Campos.
KCRW also kicks off the convention with two official showcases on Wednesday, March 16. The first features White Denim, Declan McKenna and Lapsley on the Radio Day Stage from 3:00 pm to 6:00 pm. In the evening, KCRW is proud to present the very first nighttime showcase at a brand new venue, 3TEN at Austin City Limits, featuring Ra Ra Riot, Eliot Sumner, Joon Moon, Cloves, Marlon Williams and Sofi Tukker from 8:00 pm to 2:00 am. Both showcases are open to anyone with a festival badge or wristband (no RSVP required).
KCRW LIVE FROM SXSW IN AUSTIN, TX BROADCAST SCHEDULE:
Friday, March 18:
9a – Noon PST — Morning Becomes Eclectic live from SXSW *
Saturday, March 19:
Noon-3pm PST Anne Litt live from SXSW *
3-6pm PST Raul Campos live from SXSW *
* KCRW is the radio sponsor for FLOODfest and will be broadcasting live from FLOODfest at Cedar Street. View the Floodfest lineup and RSVP here:
http://floodmagazine.com/33203/floodfestaustin2016/
KCRW OFFICIAL SHOWCASES AT SXSW
Radio Day Stage, presented by KCRW
Wednesday, March 16, Austin Convention Center, Ballroom D
Set times:
White Denim 3:00 pm
Declan McKenna 4:00 pm
Lapsley 5:00 pm
3TEN at Austin City Limits Live, presented by KCRW
Wednesday, March 16, 310 Willie Nelson Blvd, Suite 1A
Cloves 8:00 pm
Marlon Williams 9:00 pm
Joon Moon 10:00 pm
Eliot Sumner 11:00 pm
Ra Ra Riot 12:00 am
Sofi Tukker 1:00 am
About KCRW:
KCRW creates and curates a unique mix of content centered around music discovery, NPR news, cultural exploration and informed public affairs. We are driven by the spirit of LA and deliver in innovative ways — on the radio, digitally and in person — to diverse, curious communities around the corner and around the world. A community service of Santa Monica College, KCRW can be found on the air in LA, Santa Barbara, Ventura, Mojave, Palm Springs, and via five KCRW-developed smart phone apps and online at kcrw.com.
KCRW's Below the Ten: Stories of South LA continues with "Local Hires"
January 13, 2016 Laura Cohen
KCRW's Audio/Visual Reporting Series on L.A.'s Vulnerable Populations Continues with "Local Hires," the sixth chapter in Below the Ten: Stories of South LA
Series focuses on people who live and work in neighborhoods south of the 10 Freeway, including Watts, Jefferson Park, Inglewood and Compton
"Local Hires" premieres Thursday, January 14, on Morning Edition
kcrw.com/belowtheten
Los Angeles, CA (January 13, 2016) – The sixth chapter of KCRW's Below the Ten: Stories of South LA titled "Local Hires" is set to premiere on Thursday, January 14, on Morning Edition. "Local Hires" tells the story of a union carpenter Anthony Fagan and his mentor "Big John," a man whose mission it is to use local construction jobs as an opportunity to reduce violence in the South Los Angeles community. Across South LA there are a number of large developments under construction, including the $650 million dollar USC village, the expansion of the Crenshaw Metro line, and a new NFL stadium. Many of these city-changing projects have local hire initiatives, with a goal to hire a set percentage of people from the neighborhoods that surround these developments. The question is, will these new developments change South LA so dramatically that the people who constructed them can no longer afford to live there?
Each chapter in Below the Ten: Stories of South LA is produced documentary style, and focuses on the neighborhoods south of the 10 Freeway, including Watts, Jefferson Park, Inglewood and Compton. Produced by David Weinberg, the series examines these changing communities through intimate, personal stories of those who reside there. The audio premieres on KCRW's airwaves, and complementary photo and video features are available online at kcrw.com/belowtheten.
Many of the people highlighted in Below the Ten: Stories of South LA are poor – some are undocumented, and some lack basic shelter, safety and opportunities to get ahead. The first chapter, "The New Compton," tells the story of the changing face of Compton. Chapter 2, "Grace of the Sea," follows Luis Jesus Gutierrez Sanchez – a gay, undocumented immigrant residing in Jefferson Park who is in danger of losing the garage he calls home. Chapter 3, "After Katrina, Finding Refuge in South LA," chronicles Cassandra Cousin's relocation to South LA after the hurricane hit New Orleans and left her homeless. Chapter 4 highlights one of the last remaining juke joints in California, "The Barnyard" – part junkyard, part music venue, part shelter – located on South Main Street not far from Watts. Chapter 5, "The Long Commute," chronicles the Chambers family, who achieved their lifelong dream of homeownership by leaving South Los Angeles for the desert community of Palmdale, keeping ties to the old neighborhood by making a long daily commute to work and school: four hours "on a good day." Additional chapters in the series will be unveiled in the coming months.
In August, 2015, KCRW announced the development of a multi-year documentary and reporting series on issues affecting the lives of Los Angeles residents who find themselves at the edges of our community. The series, supported by a generous grant from the Conrad N. Hilton Foundation, will explore Los Angeles' most vulnerable populations. Below the Ten: Stories of South LA is the first set of programs in the series.
For more information and online access to full audio and video, please visit:
About the Conrad N. Hilton Foundation
The Conrad N. Hilton Foundation was created in 1944 by international business pioneer Conrad N. Hilton, who founded Hilton Hotels and left his fortune to help the world's disadvantaged and vulnerable people. The Foundation currently conducts strategic initiatives in six priority areas: providing safe water, ending chronic homelessness, preventing substance use, helping children affected by HIV and AIDS, supporting transition-age youth in foster care, and extending Conrad Hilton's support for the work of Catholic Sisters. In addition, following selection by an independent international jury, the Foundation annually awards the $1.5 million Conrad N. Hilton Humanitarian Prize to a nonprofit organization doing extraordinary work to reduce human suffering. From its inception, the Foundation has awarded more than $1 billion in grants, distributing $100 million in the U.S. and around the world in 2014. The Foundation's current assets are approximately $2.5 billion. For more information, please visit www.hiltonfoundation.org. | WHENEVER!)
(Milky Way Galaxy, Planet Earth, Next to the Pacific Ocean, i.e. Santa Monica, CA) – Dear most esteemed journalists, it's Pee-wee Herman here and I am going to be a DJ on a new radio show airing on KCRW! I'm so excited, it's my very first one! I mailed them a letter, which got lost (apparently!), and then tagged them on Twitter and THEN they didn't believe it was me until my biggest, bestest, most amazing fans called and called and jammed up their phone lines (hee hee)! Thank you fans because they are going to get me some donuts and leave me the keys to the studio while they are on vacation!
Join me and my friends Chairry, Magic Screen, Miss Yvonne, and some surprise special guests (HINT: they are super famous!), while we listen to some of the greatest music ever recorded!
This is all happening on Friday, November 26, at 6 p.m PST, so you better get out your transistor radio and listen to my amazing voice!
Reach out to a nice lady named Laura who did not write this for me!
For KCRW media inquiries, please contact:
Laura Cohen, LC Media: lcmediapr@gmail.com
KCRW creates and curates a unique mix of content centered around music discovery, NPR news, cultural exploration and informed public affairs. KCRW is driven by the spirit of LA and delivers in innovative ways – on the radio, digitally and in-person – to diverse, curious communities around the corner and around the world. A community service of Santa Monica College, KCRW can be found on the air in L.A., Santa Barbara, Ventura, Mojave, Palm Springs, San Luis Obispo, and worldwide via the KCRW app or online at kcrw.com.
About Maximum Fun
Maximum Fun is a pioneering podcast network, home to Bullseye with Jesse Thorn; Judge John Hodgman; The Adventure Zone; and other beloved shows. Founded in 2005 with a mission of bringing good things into the world, the network has grown to span over three dozen shows and millions of downloads every week. Going far beyond its internet roots, MaximumFun.org fosters a wonderful community of audience members and artists in real life.
KCRW Music Announcement, Programming
KCRW's Freeform Fridays feature Cut Chemist, Reggie Watts, TOKiMONSTA, Ceci Bastida, and more
May 11, 2020 Laura Cohen
KCRW announces new limited on-air series Freeform Fridays featuring special guests
Cut Chemist, Reggie Watts, TOKiMONSTA, Ceci Bastida, and a Surprise Guest TBA
KCRW DJs Aaron Byrd, Dan Wilcox, Novena Carmel, Mathieu Schreyer, and Jeremy Sole Back on Air for Opening Set
Anchored by Garth Trinidad and Travis Holcombe
Fridays starting May 15
8 – 11 PM PDT
Santa Monica (May 11, 2020) – KCRW has announced a new limited on-air series, "Freeform Fridays" featuring KCRW DJs and special guests Cut Chemist, Reggie Watts, TOKiMONSTA, Ceci Bastida, and a surprise guest TBA, starting on May 15, from 8PM – 11PM PDT, and continuing for five consecutive Fridays. Each evening opens with a set by one of the KCRW DJs – Aaron Byrd, Dan Wilcox, Novena Carmel, Mathieu Schreyer, or Jeremy Sole – back on-air for the first time since the safer-at-home order was implemented. Then, our special guest DJ takes over the airwaves with an hour of freeform radio, combining music, personal anecdotes, reflections on the current times, and plenty of surprises. Freeform Fridays will be anchored by KCRW DJs Garth Trinidad and Travis Holcombe who will close the evening with their own killer DJ set.
Freeform Fridays can be heard live on-air, at KCRW 89.9, online at KCRW.com, and via the KCRW app.
KCRW's Freeform Fridays Schedule:
8pm Aaron Byrd
9pm Cut Chemist
10pm Garth Trinidad
8pm Dan Wilcox
9pm Reggie Watts
10pm Travis Holcombe
8pm Novena Carmel
9pm TOKiMONSTA
8pm Mathieu Schreyer
9pm Ceci Bastida
8pm Jeremy Sole
9pm SURPRISE GUEST TBA
More about Freeform Friday special guests:
As well as being one of the ablest solo turntablists on the globe, American DJ and producer Cut Chemist (born Lucas MacFadden) was also a member of two highly rated crews: underground | 1,012 |
Threadneedle Street
Threadneedle Street is among the most iconic City of London streets and therefore rich with historical associations. Rather surprisingly, until the early modern era, both Threadneedle Street and what is now called Old Broad Street, which intersects with Threadneedle, were known jointly as Broad Street. The etymology of 'Threadneedle' is uncertain. It could refer to needle makers or tailors, both professions having been prominent in this area. Most excavations of basements along Threadneedle Street seem to have revealed Roman artefacts and two Roman mosaics removed form here are show at the British Museum.
The Hospital of St Anthony of Vienne was established on the north side of the street in 1243. This particular spot is a great example of the City's historical layering. Soon after the dissolution of monasteries, it was taken over by French Huguenot Protestants and was therefore known as the French Church, rebuilt after the 1666 Great Fire. In the 1840s, the church was pulled down and the site used to for Moxhay's Hall of Commerce, a would-be rival to the nearby Royal Exchange (on Cornhill).
Interior of the Hall of Commerce.
This venture, after initial success, failed and the building was converted to<|fim_middle|> current hall still has its main entrance, behind two separate 'screen' buildings, onto Threadneedle Street.
Earlier incarnation of the Merchant Tailors'Hall, opening directly onto Threadneedle Street.
From the 19th C. onward, the street became increasingly occupied by the premises of banks and stockbrokers. To the modern ear, however, its greatest association is with the Bank of England, which was founded in 1694 and has been based at the south-west extremity of Threadneedle Street since 1734.
A view of Soane's Bank of England in the 1800s.
Also of historical interest is South Sea House, at the north-east extremity. The South Sea Company somehow survived the notorious South Sea Bubble of the early 1700s and its offices were re-built after a fire, in 1826. The company was only disestablished in 1853. Other historic premises along Threadneedle include the first location of the Baltic Coffee House (which later gave birth to the Baltic Exchange) and the long-gone American Coffee House which was once "next in importance to Lloyd's for the general information afforded to the public".
The old South Sea House (before the 1826 fire).
Classical buildings of interest (from the west to east):
The Royal Exchange
Indemnity Mutual Marine Insurance (1 Old Broad Street)
Westminster Bank (51-53 Threadneedle Street and 9 Old Broad Street)
City Bank (5-6 Threadneedle Street)
Bank of New South Wales (28-29 Threadneedle Street)
Merchant Taylors' Hall (30 Threadneedle Street)
African Banking Corporation (43-47 Threadneedle Street)
32 Threadneedle Street (later also Bank of New South Wales)
34 Threadneedle Street (offices)
Eagle Insurance (41-42 Threadneedle Street)
Oriental Bank (40 Threadneedle Street)
British Linen Bank (37-38 Threadneedle Street)
Hampshire Banking Co. (39 Threadneedle Street and corner of Bishopsgate) | a bank. On the same site, the Westminster Bank would later build a large office. The two other main churches associated with Threadneedle Street, now both gone, were St Bartholomew and St Bent Fink.
St Bartholomew (left) and St Benet Fink (right) in the 1840s. The Bank of England is just visible at far left.
The Merchant Tailors, one of the oldest and most prominent guilds, was long associated with Threadneedle Street, moving their livery hall here in 133, into the former home of one Edmund Crepin. The original building was modified and rebuilt several times and the | 138 |
Art that juxtaposes different elements to portray a compelling narrative is one of the most fascinating wonders of this world. This is why we have the utmost respect for multidisciplinary/mixed media artists because we think their minds are incredibly powerful. Coming across the art and design of Aissa Diallo is, therefore, a fulfilling thing.
Aissa Diallo is a self-taught multidisciplinary artist living in Montreal. She works mainly in mixed media such as digital illustration, printmaking, and acrylic painting. Using bold colors,<|fim_middle|>, there is still a lack of representation of our reality and fight for our feminism. Being pro-black never meant being anti-anything or anyone else.
Born and raised in Guinea, Aissa Diallo is currently based and living in Montreal. | African fabric patterns, and textured hair design, she infuses empowering messages for self-love, self-care and mostly taking control of your own narrative in her art.
Aissa is keen on making sure that women all over the world, and black women especially find security in themselves – "I feel, that as a black woman myself | 66 |
For those looking for the best dessert-type e-juice flavor, the Pie by Drip Company is a good option. Indeed this is an e-liquid that has got more bounce to the ounce!
Pie by The Drip Co is one of the hot selling flavors from the company's self-titled collection. The Drip Company is an American e-juice company that specializes in crafting gourmet vape juice for the<|fim_middle|>DA with only 50 wattage power. I still got the subtle creaminess along with the cereal Pebbles. Talk about its scent makes you want to have that everyday breakfast cereal once upon a time. Just like most e-juices with fruity extracts, the fruity side tends to prevail than the other tones. The vapor has a stronger fruity flavor but not too overpowering. Also, the cloud production is dense and milky. I'm a cloud chaser so it makes me really happy that this e-juice is made up of a higher percentage of Vegetable Glycerin (VG). Once you puff it out, the aroma lingers while the cloud dispenses easily.
Pie by Drip Co is a superb presentation! It was well thought of from the way it was packaged up to its amazing taste and smell. It does easily become a part of my favorites list. It is really well-crafted. This is not bad for its practical pricing, too. Based on ecig.com's website, this is one of their bestsellers. Immediately after I first tried it, I can certainly see and understand why this is one of the most raved premium e-liquids. | vaping community. They focus in providing high quality e-juices and vapor products to the market. It is achieved by means of employing meticulous testing and innovation as part of their research and development process. They have many distribution channels and one of their prominent authorized distributors is ecig.com. This online vape store has a good collection of flavors. It is where I bought mine online.
At only $29.99, this premium e-liquid is a sweet deal. Everything from flavor to vapor plus the affordable rate equates to satisfaction guaranteed!
First of all, let me say my first impression. This is, by far, the cutest packaging I've seen for vape e-liquids. The e-liquid bottle is creatively packed in a pouch. It has a ziplock-type seal on top. The choice of colors is very appealing as well. The design on the hard plastic is dominated by the apple green color incorporated with the Pebbles Cereal and cream cheese layout. It looks too adorable that you could mistake it for a kid's candy. Due to that, the company decided to print lots of warning labels on the packaging's front and back as a precautionary measure. On the front part, you can also see the nicotine strength label. Once you open the pouch, you can find the bottle inside. It comes with a white cap and a replaceable cap for dripping. It is available in 0 mg, 3 mg, and 6 mg nicotine strength level. And this liquid is only packaged in 60 ml bottles.
This e-liquid is for vapers who loves fruity slash dessert flavors but more inclined to the latter. I thought this one has the right mix of sweet and milky blend. Think breakfast Pebbles Cereal with a twist of graham crackers and full cream milk. That is exactly what you get when you hit on this. You can savor its richness and creaminess. During the inhale, you can taste the fruity cereal notes. Then, I can also identify some mild sugary cream cheese pie for the after taste. Maybe that's why they call it Pie. It is like cheesecake meets Pebbles cereal and a tiny hint of graham. Overall, the taste comes out mild to my taste buds but not too bland to my liking since I can still distinguish the fruity and creamy blend.
Since this flavor is more on the creamy side, there is a milder throat hit but the kick is definitely still there. I bought the 6 mg nicotine strength and used it with my R | 514 |
A team of researchers at the University of Montana has found that fledglings and their parents must negotiate to find the right time for the young birds to leave their nest. In their paper published on the open access site Science Advances, the group describes their study of many types of birds and how they figured out when fledglings should leave the nest.
Many birds build nests to lay their eggs and to hold the young after they hatch until they grow old enough to fly on their own. But how do the baby birds and their parents know when it is time for them to leave? That question, the researchers point out, has not been studied very much. For that reason, they designed and carried out a study to find the answer.
The<|fim_middle|> time to develop, they were also protected from predators.
The researchers suggest that their findings indicate that parent birds and their young must negotiate an optimal time for the young to leave, balancing the dangers of staying longer versus leaving earlier. | study consisted of videotaping 11 types of songbirds using a high-speed camera—that allowed them to gain a better understanding of the flying skills of birds. They also watched as the birds grew older and carefully noted the time points at which the young birds left the nest—and how they fared.
The researchers found that there were differences between species—some parents allowed their offspring to stay in the nest longer while others did not. There were also differences in mortality rates between species. Those that left the nest earlier found it tougher going than those that stayed in the nest longer—fewer of them survived because they had not yet developed strong flying skills. On the other hand, young birds that hung around in the nest longer were more likely to attract predators because they were noisier—increasing the likelihood of the whole brood being eaten. The researchers also found that under artificial conditions in which they forced some parents to keep their young in the nest for a few extra days, the mortality rate was lower—not only did the young birds have more | 209 |
Researchers at Caltech have developed an ultrathin camera sensor that doesn't need a lens to provide focus, opening up the possibility of dramatically thinner embedded designs.
The key to the sensor is an optical phased array (OPA) that computationally does what lenses do using shaped pieces of glass or plastic.
The OPA has an 8x8 array of light receivers, each of which can individually add a tightly controlled time delay (or phase shift) to the light it receives, enabling the camera to selectively look in different directions and focus on different things with large amounts of digital signal processing (DSP).
"Here, like most other things in life, timing is everything," said Ali Hajimiri, Bren Professor of Electrical Engineering and Medical Engineering in the Division of Engineering and Applied Science at Caltech, and the principal investigator. "With our new system, you can selectively look in a desired direction and at a very small part of the picture in front of you at any given time, by controlling the timing with femto-second--quadrillionth of a second--precision,"
"We've created a single thin layer of integrated silicon photonics that emulates the lens and sensor of a digital camera, reducing the thickness and cost of digital cameras. It can mimic a regular lens, but can switch from a fish-eye to a telephoto lens instantaneously -- with just a simple adjustment in the way<|fim_middle|> scaling up the camera by designing chips that enable much larger receivers with higher resolution and sensitivity. | the array receives light," he said.
A similar principle to a phased array antenna is used in reverse in an optical phased array receiver. Light waves that are received by each element across the array cancel each other from all directions, except for one. In that direction, the waves amplify each other to create a focused image.
"What the camera does is similar to looking through a thin straw and scanning it across the field of view. We can form an image at an incredibly fast speed by manipulating the light instead of moving a mechanical object," says graduate student Reza Fatemi.
Last year, Hajimiri's team developed a one-dimensional version of the camera that was capable of detecting images in a line, such that it acted like a lensless barcode reader but with no mechanically moving parts. This first 2D lensless camera has an array composed of just 64 light receivers, limiting the resolution, but represents a proof of concept for a fundamental rethinking of camera technology says Hajimiri.
"The applications are endless," says graduate student Behrooz Abiri. "Even in today's smartphones, the camera is the component that limits how thin your phone can get. Once scaled up, this technology can make lenses and thick cameras obsolete. It may even have implications for astronomy by enabling ultra-light, ultra-thin enormous flat telescopes on the ground or in space."
"The ability to control all the optical properties of a camera electronically using a paper-thin layer of low-cost silicon photonics without any mechanical movement, lenses, or mirrors, opens a new world of imagers that could look like wallpaper, blinds, or even wearable fabric," said Hajimiri.
Naturally the team is now working on | 342 |
Society for the Protection of Nature in Lebanon – SPNL is one of the oldest environmental NGOs in Lebanon. It was established in 1983 under the Lebanese Laws, and licensed by the Ministry of Interior by decision no. 6/AD dated 8/1/1986.
SPNL<|fim_middle|> International partner for Lebanon, SPNL is engaged in bird conservation mainly through building capacities of protected areas managers from the whole country on bird identification; through the Important Bird Areas program that aims at identifying sites and habitats essential for bird conservation; and through conservation site action projects. | is the national partner for BirdLife International in Lebanon. It considers birds as entry points for the conservation of wider natural resources, as they act as key indicators of the status and health of ecosystems.
Ever since its establishment in 1986, SPNL advocated the establishment of protected areas and initiated with the Ministry of Environment the protected areas in Lebanon. After twenty years of experience working with nature reserves through government agencies, SPNL is now reviving and advocating the Hima community based conservation approach that has been prevalent in the Arabic region for more than 1500 years.
SPNL has a long experience in scientific research (mainly avifauna and biodiversity), education and awareness, advocacy and networking, and community development.
As a national environmental NGO in Lebanon, SPNL has widely contributed to both raising awareness on environmental issues and concretely protecting natural areas in Lebanon. As a member of the World Conservation Union (IUCN), SPNL has helped develop the first biodiversity project in Lebanon, known as the Protected Areas Project. SPNL has established the Environment Information Center (EIC) that serves as a key resource for the provision of environmental information to students, teachers, and researchers in this field.
As the BirdLife | 248 |
Comfortable 3-person room with double bed and single bed.
Private bathroom with WC, bath/shower, washbasin and hair dryer.
In combination with a single room, one of these rooms forms a nice suite.
Comfortable 3 persons room with one double and one single bed.
Own bathroom with WC, shower, sink and hair dryer.
Spacious and very quiet room situated on floor -1.
Comfortable room with double bed.
Balcony or terrace, TV, minibar.
Private bathroom with WC, shower, washbasin and hair dryer.
Comfortable room with 2 separate beds.
Comfortable single room with queen-sized bed - suitable as double bed.
Space also possible for a child's bed (1<|fim_middle|> 3,00€ per day.
Experience the huge variety of opportunities on offer in the Kitzbühel Alps region including hiking, skiing and mountain biking. We look forward to your visit to "Pension Brixana" and to spoiling you here in Brixen im Thale. | .40m).
Private bathroom: WC, shower, washbasin and hair dryer. TV, minibar.
In combination with a triple bedroom forms a nice suite.
All our prices include breakfast buffet, the use of our wellness, WiFi and parking. Exclusive are the city taxes Children till 3 stay free, Children till 15: reduction under conditions. Price for a supplementary bed on request. Pets: | 84 |
A fabulously fudgy, sweet treat that's ready in just two minutes….this easy Hot Chocolate Mug Cake is studded with mini marshmallows and rich, creamy truffles. A fun dessert to squash any sugar craving!
This post is created in partnership with Harry & David. All opinions and statements in this post are my own, as always.
It's rainy and cold….I'm waiting for snow. It's time. We've been hanging outside lately in 60 degree weather and it's not feeling very festive. More like early fall, I should be sipping a Pumpkin Spice Latte….not baking gingerbread and hanging twinkle lights. But I'm forcing myself to get into the holiday spirit and by the looks of my house, you'd think I'm going all Clark Griswold this year. I don't know how he did all that decorating with such gusto and all while dealing with those crazy family members because I decorated one tree and needed to take a break. It's all so exhausting but once it's done….it's so worth it. And then I can focus on the fun stuff….like creating sweet treats filled with my favorite Harry & David Chocolate Truffles.
I'm a big fan of mug cakes because they come together in minutes….like two minutes to be exact. And depending on what you put in them they can satisfy just about any craving that comes to mind. This Hot Chocolate Mug Cake will smash any chocolate craving because it's loaded with chopped truffles that I tossed right into the batter. And to make it even more fun….and festive, I threw in a handful of mini marshmallows which totally melted right into the cake making it taste just like a hot steaming mug of hot cocoa. But cake. Like hot cocoa you can eat with a fork.
Harry &<|fim_middle|> a chocolate lover's dream and the perfect surprise inside your Hot Chocolate Mug Cake!
This Hot Chocolate Mug Cake is the perfect snack for sitting by the fire with the snow (or rain) falling outside while watching the twinkle of your Christmas tree lights (or menorah) or binging on Stranger Things because you may be a little behind the rest of us. It's one of my favorite desserts along with this Strawberry and Cream Mug Cake or THIS extra chocolatey little number. And since the ingredients are readily available….in fact, you probably have them in your kitchen right now! Even the non-baker can pull this one off…it's the perfect ending to a roast chicken date night with the one you love. Dinner for two couldn't be easier!
Small batch chocolate mug cakes for those times when you just need a little sweet treat....and fast!
For the full recipe instructions visit the Harry & David blog.
We just got some snow here yesterday! This recipe is so easy and will be perfect for the next snow fall.
Any way to tell what type of coffee cup/mug WILL NOT do well in the oven or micro wave?
Usually, I'll just check the bottom to see if it's microwave safe. If it doesn't say it I'll skip that mug. I know, so scientific of me. | David Signature Truffles are a indulgent treat all by themselves. There's nothing quite like biting into the creamy center of a premium quality gourmet chocolate truffle. They've been using their signature truffle recipe for over 30 years, and it hasn't changed because they're perfect in every way. Made in their candy kitchen in Southern Oregon using a proprietary blend of chocolate, these exquisite treats come in an array of flavors, like milk chocolate, white coffee, and dark chocolate cherry. Timeless and delicious, these silky truffles are | 108 |
Environmental sustainability and human cultural sustainability are inextricably linked. Reversing damaging human impact<|fim_middle|> Perspectives for Fieldwork in Ethnomusicology, second edition. | on the global environment is ultimately a cultural question, and as with politics, the answers are often profoundly local. Timothy J. Cooley presents twenty-three essays by musicologists and ethnomusicologists, anthropologists, folklorists, ethnographers, documentary filmmakers, musicians, artists, and activists, each asking a particular question or presenting a specific local case study about cultural and environmental sustainability. Contributing to the environmental humanities, the authors embrace and even celebrate human engagement with ecosystems, though with a profound sense of collective responsibility created by the emergence of the Anthropocene.
Publication supported by a grant from the Division of Humanities and Fine Arts, University of California, Santa Barbara.
Timothy J. Cooley is a professor of music and global studies at the University of California, Santa Barbara. He is the author of Surfing about Music and Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians, and a coeditor of Shadows in the Field: New | 198 |
Female gamers: can they game?
These tirades nearly continually tip over into caricature: if the only baseball will be freed from the tyrannical bonds of<|fim_middle|> game's outputs – our love of improbable fastballs, and again-breaking catches, and sport-ending grand slams – is rarely any one-of-a-kind nowadays to what it becomes 30 years ago. | records, the jocks say, players would unexpectedly re-emerge in all their antenumerical glory, rippling and Byronic and pure. A few predictable themes recur: nerds haven't performed the game to any first-rate level; they, therefore, don't "apprehend" baseball at an elemental, emotional degree; nerds depend upon records; there are too many facts in the game, an excessive amount of fussing over sabermetrics and analytics and Bayesian inferences and different dweeby irrelevances; as an end result, baseball is being stripped of its spontaneity and a laugh, players are dropping their freedom of self-expression, and the game is demise; ergo, the nerds should be stopped.
This issue isn't restricted totally to baseball, of the route – with the use of analytics in education and player recruitment growing, different most important sports activities are experiencing their personal backlash against the statisticians. It's now at the factor wherein we can talk of a proper cultural battle to decide the future of expert sports: a war between art and science, gesture, and statistics, virtuosity, and device, among the extravagance and unpredictability of personal skills and the icy certainties of arithmetic.
Or so the nerd haters might have us agree with. The maximum omitted size of the warfare in professional sports activities between the meatheads and the nerds is that it's best the former who appear to accept as true with the conflict exists; you could study masses of exuberant tirades in opposition to analytics or nostalgic paeans to the grandeur of sport earlier than technological know-how, but by no means do you encounter windy, overegged tributes to walks and hits consistent with inning pitched or the groundout-to-flyout ratio. The nerds do not often have a good deal to mention in public in protection in their location within the game, most possibly because they comprehend the contest become already settled of their favor years in the past. With a string of nerd-supported groups in the region throughout all the fundamental leagues (the Houston Rockets, the Boston Red Sox), nerds can legitimately say they hold the strongest foreign money of all in professional sports: the currency of success. Whether the meatheads love it or not (we recognize they don't), the nerds are right here to stay.
But does this accelerating nerdification imply American recreation is not any amusing to look at? It's right here, on the essential if a subjective question of aesthetics, those critiques fluctuate maximum violently. Run your eye over the information headlines of the past few days in MLB and what's maximum putting is the prominence given to individual feats of virtuosity and athleticism: Ramon Laureate's "throw of the century", Adam Engel's acrobatic robbery of a 3-run homer towards the Indians (in a dropping motive, no less), David Bote's potentially profession-defining grand slam towards the Nationals on Sunday night time. Search for clicky headlines or wannabe-viral posts about the Nationals' stolen base percentage fee and also you'll arise upset. This holds authentic in all of the other sports subject to a creeping anxiety about the march of facts: therefore all the excitement on social media approximately Wayne Rooney's masterly ultimate minute intervention for DC United over the weekend (a triumph of ability over records if ever there was one), or the enduring highlights-reel attraction of that LeBron James block towards the Warriors in 2016.
Fun, spontaneity, individuality, character: expert recreation inside the US still has them all, and it's ridiculous to fake otherwise. Plainly, the united states' professional athletes have no longer all devolved into mindless automatons. Far from ruining recreation and killing creativity, statistics – via giving coaches the approach to higher apprehend where and a way to allocate their assets – may additionally alternatively provide a superior platform for gamers' creativity to flower. All the at the same time as it is nevertheless, very glaringly, those man or woman sparks of genius that draw enthusiasts to the sport. Teams can use all of the information in the global but recreation nevertheless comes down to the exception of individual selection-making on the sphere of play. Data can assist train brains however it is able to replace them – or the fingers, legs, and heads to which they're attached. Data, in the long run, is just one set of inputs among many within the education method. And even though the elements that go into coaching might also now be greater various, our appreciation of the | 918 |
Consumer & Patient Education and Shared-Decision Making (507)
Published on 2.12.2011 in Vol 13 , No 4 (2011) :Oct-Dec
Beyond Readability: Investigating Coherence of Clinical Text for Consumers
Catherine Arnott Smith 1 ; Scott Hetzel 2 ; Prudence Dalrymple 3 ; Alla Keselman 4
Article Authors Cited by (18) Tweetations (1) Metrics
Catherine Arnott Smith1, AMLS, MS, MA, PhD;
Scott Hetzel2, MS;
Prudence Dalrymple3, MS, PhD;
Alla Keselman4, MA, PhD
1School of Library and Information Studies, University of Wisconsin-Madison, Madison, WI, United States
2Biostatistics and Medical Informatics, School of Medicine and Public Health, University of Wisconsin-Madison, Madison, WI, United States
3Institute for Healthcare Informatics, College of Information Science and Technology, Drexel University, Philadelphia, PA, United States
4Division of Specialized Information Services, National Library of Medicine, Bethesda, MD, United States
Catherine Arnott Smith, AMLS, MS, MA, PhD
School of Library and Information Studies
600 N Park Street
Fax:1 608 263 4849
Email: casmith24@wisc.edu
Background: A basic tenet of consumer health informatics is that understandable health resources empower the public. Text comprehension holds great promise for helping to characterize consumer problems in understanding health texts. The need for efficient ways to assess consumer-oriented health texts and the availability of computationally supported tools led us to explore the effect of various text characteristics on readers' understanding of health texts, as well as to develop novel approaches to assessing these characteristics.
Objective: The goal of this study was to compare the impact of two different approaches to enhancing readability, and three interventions, on individuals' comprehension of short, complex passages of health text.
Methods: Participants were 80 university staff, faculty, or students. Each participant was asked to "retell" the content of two health texts: one a clinical trial in the domain of diabetes mellitus, and the other typical Visit Notes. These texts were transformed for the intervention arms of the study. Two interventions provided terminology support via (1) standard dictionary or (2) contextualized vocabulary definitions. The third intervention provided coherence improvement. We assessed participants' comprehension of the clinical texts through propositional analysis, an open-ended questionnaire, and analysis of the number of errors made.
Results: For the clinical trial text, the effect of text condition was not significant in any of the comparisons, suggesting no differences in recall, despite the varying levels of support (P = .84). For the Visit Note, however, the difference in the median total propositions recalled between the Coherent and the (Original + Dictionary) conditions was significant (P = .04). This suggests that participants in the Coherent condition recalled more of the original Visit Notes content than did participants in the Original and the Dictionary conditions combined. However, no difference was seen between (Original + Dictionary) and Vocabulary (P = .36) nor Coherent and Vocabulary (P = .62). No statistically significant effect of any document transformation was found either in the open-ended questionnaire (clinical trial: P = .86, Visit Note: P = .20) or in the error rate (clinical trial: P = .47, Visit Note: P = .25). However, post hoc power analysis suggested that increasing the sample size by approximately 6 participants per condition would result in a significant difference for the Visit Note, but not for the clinical trial text.
Conclusions: Statistically, the results of this study attest that improving coherence has a small effect on consumer comprehension of clinical text, but the task is extremely labor intensive and not scalable. Further research is needed using texts from more diverse clinical domains and more heterogeneous participants, including actual patients. Since comprehensibility of clinical text appears difficult to automate, informatics support tools may most productively support the health care professionals tasked with making clinical information understandable to patients.
J Med Internet Res 2011;13(4):e104
doi:10.2196/jmir.1842
Health literacy; comprehension; vocabulary; patients; language tests; retention (psychology)
A basic tenet of consumer health informatics is that understandable health resources empower the public by increasing knowledge and improving decision making [1]. Research indicates that most laypeople have difficulty comprehending medical documents, especially those that describe complex information pertaining to clinical research (for example, [2]). For example, numerous studies suggest that most patients, especially those with lower income levels and literacy skills, have difficulty reading and comprehending informed consent documents [3]. Poor understanding of health information thus has an impact on public health. This has prompted many research efforts to close the gap between the difficulty level of documents and readers' literacy by improving the readability of health-related materials.
Readability itself is a concept drawn from kindergarten to grade 12 education, in which field research findings suggest that readers' ability to comprehend a passage decreases as the number of "difficult" words (that is, words unfamiliar to the average reader) increases. Typically, readability measures are derived from sentence and word length. Substituting simpler, more familiar vocabulary improves readability in texts whose subject matter addresses general knowledge domains. (For a comprehensive review, see [4]).
Attempts to lower the readability level of health materials, usually to grades 7–9, have successfully employed these techniques, but health information presents additional challenges. Health information not only contains unfamiliar and difficult words, but also abounds with complex concepts such as those related to physiology and pharmacology. In addition, understanding health materials requires readers to make inferences that access a body of specialized knowledge supporting the information. Experts possess this specialized body of knowledge and so are able to make inferences, but even highly educated nonspecialists may not be able to make those inferences because they lack the necessary training and experience.
Patients and Clinical Language
Medical terminology has long been recognized as a specialized language that is acquired through education and clinical practice [5]. For decades, medical terminology has been cited by physicians as a significant concern about patients' possible misinterpretation of medical record content [6-10]. Much of this literature derives from early controversies over patient access to records—first, in psychiatry, proposed initially as an entirely theoretical construct by Westin [11], and then, in the early years of the British Access to Health Records Act, which in 1990 first gave British patients access to their medical information "held in manual form" [8].
Surprisingly, given the early concerns expressed about patient understanding of medical terminology, few studies published since the mid-1990s have examined the problem. Only Tomkins et al [12] examined patients' comprehension of physician letters. Far more common is the assertion that medical terminology is a nail, and customized patient education materials the appropriate hammer. For example, Nijland et al [13] found that terminology was a barrier to usability in patient self-care applications, concluding that "Self-care support applications should match the vocabulary of the users and the language of the medical systems."
The medical terminology problem is compounded by the consumer health vocabulary problem: that the everyday language used by consumers to describe diseases and treatments is a hybrid of specialized terms and common words that are part of general spoken vocabularies (see Keselman et al [14] for a discussion of research in this area to date). Consumer terms are also characterized by levels of granularity and specificity different from their medical counterparts. For example, anatomical words such as "blood" or "brain" usually suffice for lay discussion of physiology or pathology, while the specialist requires terms that describe much smaller, more specific aspects of the blood or the brain. For these reasons, any approach to vocabulary simplification is challenging, particularly for analysis by reading level. Words that contain many syllables, such as "hospitalization," contribute to a higher calculated reading level for that document, yet the term hospitalization is easily understood by laypeople who know what a hospital is; conversely, short and simple words such as "gene" or "immune" are terms referencing complex entities and processes.
Carefully designed entry vocabularies may be able to serve as bridges between terms and concepts used by different user communities. This idea was the impetus for development of the Unified Medical Language System, which focuses on the numerous sublanguages of health care. The idea that consumers constitute a user community of their own, however, is more recent (see [15] for a review), and details of how such an entry vocabulary can be used in real-world implementations are lacking. Zeng and Tse [16] argued in opposition to Patrick et al [17] that simply providing users with a list of medical terms or a dictionary would not solve the terminology problem for informatics applications. More recently, Leroy and Miller [18] found some evidence supporting Zeng and Tse. This reading comprehension study investigated the effect of automatically generated health topics overviews (HTOs). These HTOs, described as functioning "much as a table of contents," were overviews, not dictionaries, but like dictionaries were intended to function as information assists. Leroy and Miller found that "vulnerable" consumers—those identified as having low health literacy or high stress—were found to rely on the HTO even more than they did on the text that the HTO summarized—so much so that vulnerable consumers performed more poorly when an HTO was not available.
Dictionaries can be considered a good starting point for language bridges, since they contain definitions presumed to be standard and thus common across communities. However, the sociocultural dimensions of term variability require more depth and breadth of expression than any dictionary or glossary can effectively provide without a great deal of customization; Velardi and colleagues have commented on the resource intensiveness of the interactive glossary process itself [19]. Indeed, the literature of medical informatics is largely silent on this question, since the usefulness of dictionaries or glossaries as terminology support in health informatics is an untested assumption, with one exception: Diefenbach and Butz [20] constructed a virtual health center for use in educating patients with prostate cancer. The library "room" in this health center used a glossary in which some medical terms were hyperlinked to short definitions. A focus group of patients and spouses identified the glossary as helpful.
Text coherence, a concept from the fields of cognitive psychology and education, refers to the connectedness of ideas in a text, which affects comprehension [21]. A distinction is usually made between local and global coherence. Local coherence refers to the explicit connection between adjacent clauses and sentences, also referred to as cohesion; global coherence refers to the logical organization in which macro-level ideas are presented. [22].Text coherence is the function of both text and reader; an identical text may be perceived as either well or poorly connected, depending on the reader's background knowledge. Extracting meaning from text always requires some inferences, and it is the background knowledge that determines whether the needed inferences are trivial or insurmountable.
When discussed as a feature of a text, coherence usually applies to its "average" reader, or target audience. When it comes to comprehending medical information, laypeople lack the in-depth knowledge of the domain, an expertise that is characteristic of the professional who wrote those texts. Medical documents such as those contained in electronic and personal health records, informed consent forms, and medication instructions are likely to refer to concepts and make connections with which readers may not be familiar.
To support consumer comprehension, we must bridge the gap that exists between writers' and readers' knowledge: between the elaborate background expertise of the writer that serves as a basis for assumptions in the text, and the more modest background familiarity of the reader. In other words, we need to make the text more "coherent," ensuring that its ideas are well connected not only with each other, but with the likely background knowledge of the intended reader; that the number of inferences, or mental leaps, required of the reader moving from one idea to the next is not excessive; and that these inferences are easy to make.
Consider the following statement: "After Jennifer mentioned that her daughter was 'always thirsty,' the doctor asked if she had recently lost weight." A reader with some knowledge about type 1 diabetes will know that thirst and weight loss are both symptoms of diabetes. Such a knowledgeable reader will infer the connection between the two clauses of the sentence, will understand that the word "she" refers to the daughter rather than the mother, and may even anticipate the doctor's next questions. The reader without prior knowledge of diabetes, however, will not be able to make the connection.
Coherent texts ensure that less effort is required for the reader to transition from clause to clause, extracting meaning and building a mental representation of the text. In comprehension research, text memory and mental representations are typically measured in terms of propositions. A proposition is the smallest meaningful unit of thought, often consisting of two concepts and a relationship that connects them (antiobiotic_TREATS_infection), or a concept and a modifier (infection_IS_bacterial). Propositions typically correspond to sentence clauses. Not every proposition of the original text is encoded and remembered [23]: concepts and relationships that are connected to the reader's prior knowledge are more likely to be retained.
Reduced comprehension effort is not necessarily always better for all readers. In fact, studies suggest that when readers with strong background read less coherent texts, they are forced into deeper processing, and actually learn more [21,24]. For less knowledgeable readers, however, lack of coherence in the text is detrimental to comprehension and learning. As they lack background knowledge concepts to which they can relate the text, they remember little, and build representations characterized by omissions and errors [25]. Laypeople reading medical documents are likely to fall into the category of less knowledgeable readers, those whose comprehension would benefit from more coherent texts.
Little is known about the coherence of standard medical documents, because research into the comprehensibility of these materials has typically focused on readability. As noted above, however, readability does not ensure coherence. Local coherence is likely to be compromised by the unfamiliar concepts and relationships between them—as in the example given above regarding thirst and weight loss—as well as by general writing style issues, neither specific nor limited to the health domain. Global coherence, additionally, is likely to be compromised if the overall structure of the documents reflects health professionals' rather than lay conception of health and disease.
Studies in cognitive psychology suggest that rewriting texts using explicit coherence principles, rather than writers' intuition, leads to improved comprehension for less knowledgeable readers. McNamara et al [26] analyzed 12 available studies that revised texts to change their coherence (which these authors refer to as cohesion). Principles for improving local coherence typically involve strategies such as the addition of argument overlap (making each sentence repeat the linking word from a previous sentence), the use of sentence connectives, and the rearrangement of clauses so that sentences repeat old ideas before introducing new ones. Improving global coherence involves introducing background concepts; making important references explicit; explaining causal connections between events; adding headers and topic sentences; and clearly linking subtopics to the main topic [21,25,27,28].
Although published studies describe many strategies for improving text coherence, they do not provide specific guidance for choosing among them. Most studies use a combination of techniques, directed at improving both local and global coherence. Vidal-Abarca et al [27] explicitly compared the effect of local versus global coherence improvements in a history text on the Russian Revolution, and concluded that global, but not local, coherence improvements led to deeper comprehension, as measured by the ability to answer inference questions and focus on main ideas during recall. Vidal-Abarca and colleagues also concluded that the strongest benefits for comprehension were produced by a version with both local and global coherence revisions. To the best of our knowledge, no studies have compared the impact of local versus global comprehension revisions as a function of text difficulty. It is reasonable to expect that global coherence revisions, which target gaps in knowledge, are more essential for texts in knowledge-rich domains, such as history or medicine, than for domains with weaker ties to specialized subject knowledge, such as fiction. At the same time, one should keep in mind that conceptual complexity (and thus global coherence) is not purely a characteristic of a text, but of a match between the text, the knowledge and intention of its authors, and its reader. This makes global coherence editing more art than science, compared with local coherence editing.
While the cognitive psychology literature outlines rather specific principles for improving text coherence, professional writers of health education brochures have a wide range of notions about what it means for the text to be coherent and how coherence can be achieved (Kools et al [29].) Certain specific principles of coherence were overlooked by these writers—for example, the use of sentence connectives to clarify relationships, especially causal relationships, between concepts; and the correct use of word order, to make clear that new information is related to information previously given to the reader. Extending the focus of consumer health comprehension research beyond readability to include coherence is likely to lead to insights about ways to support patients' understanding of medical documents.
Study Goals
The need for efficient ways to assess consumer-oriented health texts, and the availability of computationally supported tools to accomplish these tasks, led us to explore the effect of various text characteristics on readers' understanding of health texts, as well as to develop novel approaches to assessing these characteristics. We were particularly interested in coherence and the complexity of health-specific vocabulary. To explore these issues, we conducted an exploratory study to compare two approaches to improving the readability of health materials. One approach focuses on identifying and explaining difficult words; the other focuses on identifying logical gaps and providing additional texts to facilitate inference, thereby increasing coherence.
The goal of this study was to compare the impact of three interventions on individuals' comprehension of short, complex passages of health text. Two interventions provided terminology support via (1) standard dictionary, or (2) contextualized vocabulary definitions developed specifically for the study. The third intervention provided coherence improvement. The Methods section describes these interventions in detail. We tested the following 4 hypotheses.
H1: Readers' comprehension of a text enhanced by providing standard, off-the-shelf dictionary definitions (hereafter referred to as the Dictionary condition) will be equivalent to their comprehension of the original text (hereafter referred to as the Original condition).
H2: Readers' comprehension of a vocabulary-enhanced text (hereafter referred to as the Vocabulary condition) will be significantly greater than in the Original and Dictionary conditions combined.
H3: Readers' comprehension of a text with improved coherence (hereafter referred to as the Coherent condition) will be significantly greater than in the Original plus Dictionary conditions.
H4: Readers' comprehension of the Coherent condition will be significantly greater than in the Vocabulary condition.
A total of 80 people associated with the University of Wisconsin-Madison as staff, faculty, or students participated in the study. Participants were recruited in two cohorts. The first cohort of 40 participants consisted of mixed faculty, staff, graduate, and undergraduate students recruited via campus fliers and newspaper advertising. After we determined that the initial sample size was insufficient to capture the effects of the interventions, we recruited a second cohort, consisting entirely of graduate students in library and information studies, from the University of Wisconsin-Madison School of Library and Information Studies, via an in-class announcement. All participants completed the tasks individually and received $25 bookstore gift cards for participating. The study was approved by the Social Sciences Institutional Review Board of the University of Wisconsin-Madison on February 23, 2007.
All participants completed an anonymous demographic questionnaire to report their gender, age, racial/ethnic characteristics, educational level, and work experience. Participants also self-rated their biomedical understanding on a scale from 1 ("I rarely read texts on biomedical topics") through 4 ("I read and understand general medical articles") and their knowledge about diabetes mellitus on a scale from 1 ("very little") to 5 ("a good deal").
Table 2 (see the Results section) shows the characteristics of the sample obtained from this questionnaire.
The first document type (see Textbox 1) was a description of a clinical trial entitled "Non invasive assessment of liver glycogen kinetics and ATP synthesis in type 1 diabetics", adapted from ClinicalTrials.gov (database trial identification number NCT00481598), the largest existing registry of clinical trials, maintained by the National Library of Medicine. This trial was selected because it concerned diabetes mellitus, a common diagnosis, and because the documentation of the trial included a description of the study's purpose. This made it ideal for a study assessing consumer comprehension of text, as opposed to other dimensions of health literacy, such as understanding of tabular data, or numeracy in general. In fact, McCray and Ide [30] wrote early in ClinicalTrials.gov's history that one motivation for creating this website was the desire to make clinical trial information "available to individuals with serious or life-threatening diseases and conditions, to other members of the public [our emphasis], to health care providers, and to researchers" and available "in a form that can be readily understood by members of the public." Leroy and colleagues similarly chose a clinical trial document for a readability study because it represents "the most difficult language...that consumers will encounter and are expected to understand, that is, [a document] meant for them." [31]
Visit Notes
The second document type was a sample cardiology office Visit Notes document (Textbox 2) obtained from an online collection of sample medical transcripts at MedicalTranscriptionSamples.com. The site is a reference resource for medical transcriptionist training. The Visit Notes document was selected because of its focus on heart disease, a common consumer health concern. The document included the following sections: (1) history of present illness, (2) physical examination, (3) medications, (4) diagnoses, and (5) plan. A nurse practitioner reviewed the document and found it representative of office Visit Notes.
Clinical Trial Document
NCT00481598 Non Invasive Assessment of Liver Glycogen Kinetics in Type1 Diabetics
Patients with Type 1 diabetes suffer from impaired postprandial hepatic glycogen storage and breakdown, if they are under poor glycaemic control. Poor glycogen storage in the liver puts these patients at risk of fasting hypoglycemia. Amelioration of glycaemic control could improve these abnormalities and thereby reduce the risk of hypoglycemia in these patients. The "gold standard" technique for the assessment of hepatic glycogen metabolism in humans, 13 C magnetic resonance spectroscopy (13C-MRS), is expensive and limited to a few centers worldwide. Aim 1 of our project is to establish a new assessment method for glycogen metabolism. This new method is based on oral administration of 2H2O and acetaminophen.
Textbox 1. Clinical Trial Document
Visit Notes document
History of Present Illness:
This 66-year-old white male was seen in my office on Month DD, YYYY. Patient was recently discharged from Doctors Hospital at Parkway after he was treated for pneumonia. Patient continues to have severe orthopnea, paroxysmal nocturnal dyspnea, cough with greenish expectoration. His exercise tolerance is about two to three yards for shortness of breath. The patient stopped taking Coumadin for reasons not very clear to him. He was documented to have recent atrial fibrillation. Patient has longstanding history of ischemic heart disease, end-stage LV systolic dysfunction, and is status post ICD implantation. Fasting blood sugar this morning is 130.
Physical Examination:
VITAL SIGNS: Blood pressure is 120/60. Respirations 18 per minute. Heart rate 75-85 beats per minute, irregular. Weight 207 pounds.
HEENT: Head normocephalic. Eyes, no evidence of anemia or jaundice. Oral hygiene is good.
NECK: Supple. JVP is flat. Carotid upstroke is good.
LUNGS: Severe inspiratory and expiratory wheezing heard throughout the lung fields. Fine crepitations heard at the base of the lungs on both sides.
CARDIOVASCULAR: PMI felt in fifth left intercostal space 0.5-inch lateral to midclavicular line. First and second heart sounds are normal in character. There is a II/VI systolic murmur best heard at the apex.
ABDOMEN: Soft. There is no hepatosplenomegaly.
EXTREMITIES: Patient has 1+ pedal edema.
1. Ambien 10 mg at bedtime p.r.n.
2. Coumadin 7.5 mg daily.
3. Diovan 320 mg daily.
4. Lantus insulin 50 units in the morning.
5. Lasix 80 mg daily.
6. Novolin R p.r.n.
7. Toprol XL 100 mg daily.
8. Flovent 100 mcg twice a day.
1. Atherosclerotic coronary vascular disease with old myocardial infarction.
2. Moderate to severe LV systolic dysfunction.
3. Diabetes mellitus.
4. Diabetic nephropathy and renal failure.
5. Status post ICD implantation.
6. New onset of atrial fibrillation.
7. Chronic Coumadin therapy.
1. Continue present therapy.
2. Patient will be seen again in my office in four weeks.
Textbox 2. Visit Notes document
Study Conditions
We transformed the original documents three times to create the study conditions: health dictionary support (for the Dictionary condition), contextualized vocabulary support (for the Vocabulary condition), and coherence enhancement (for the Coherent condition). Each transformation is described below. For a summary comparison of characteristics of the original and transformed texts, see Table 1 in the Methods section, below.
Health Dictionary Support Transformation (Dictionary Condition)
We applied the predictive health term difficulty algorithm created by Zeng et al [5] to each document in order to identify terms unlikely to be familiar to consumers. Additionally, three nonclinician researchers independently extracted all potentially difficult health-related terms and expressions from the texts, adding them to the list of terms needing additional explanation. Finally, a nurse practitioner identified any remaining terms that were potentially problematic. These terms were selected for dictionary support.
"Difficult" terms were highlighted in blue in the text of the Dictionary condition. Terms in this condition had definitions provided in pop-up balloons activated by mousing over the text presented on a computer screen (see Figure 1). We culled definitions of terms from readily available Internet dictionary sources, such as Merriam-Webster's Medical Dictionary and others identified by Google's "define" function.
Contextualized Vocabulary Support Transformation (Vocabulary Condition)
This was similar to the transformation undertaken for the Dictionary condition described above, but in the Vocabulary condition, term definitions appearing in the pop-up balloons were edited by the nurse practitioner to specifically apply to the terms' contextual usage in the documents (see Figure 2).
Figure 1. Text selection with example of dictionary support.
View this figure
Figure 2. Text example with contextualized vocabulary support.
Coherence Enhancement (Coherent Condition)
This condition was developed in collaboration with the nurse practitioner, based on the principles outlined in the literature review above. We attempted to increase document coherence both at the local level (that is, between adjacent sentences) and at the global level (that is, across all sentences of the document), without altering the texts' graded readability level as measured by the Flesch-Kincaid formula [32]. Given the very different structures and the different intended original audiences for the two documents, we used two different procedures for improving their coherence.
While we attempted to target both local and global coherence, local coherence was not applicable to the sections of the Visit Notes that contained numbered items rather than sentences. This is because local coherence deals with sentence overlaps, often mentioning a concept from the previous sentence at the beginning of a new one; this makes it clear and unambiguous what various pronouns refer to (eg, does "it" refer to the heart or the procedure performed on it?). When text consists largely of bulleted or numbered lists, it is hard to do this kind of local coherence correction. For example, in a medications list made up of numbered sentence fragments, concepts mentioned in new sentences cannot be clearly linked to earlier sentences.
Global coherence, conversely, presents a contextual issue rather than a compositional one. We felt that coherence gaps in both documents had to do with the lay readers' insufficient background knowledge, leading to difficulty making inferences. In addition, potential coherence-related difficulties with the Visit Notes could be related to the topical organization and section and subsection headers in the document, a structure highly conventional and likely very familiar to medical professional authors and readers, but not to laypeople. The procedures by which we improved the coherence of the texts are described in detail below.
Clinical Trial Document Type
We first segmented this text into units of analysis, usually complete sentences. In some cases, complex sentences were divided into propositions, keeping intact phrases beginning with words such as "therefore" or "because." Next, we identified coherence gaps, defined as places where an inference was needed to comprehend each sentence on the basis of preceding sentences. Information was then added to the text, either by supplementing existing sentences or by adding new sentences that contained contextualized explanations. Examples of such added information include a missing background concept—for example, an explanation of the dangers of hypoglycemia—or the rationale behind the assessment procedure—for example, explaining the need to have good methods for measuring liver glycogen metabolism. Additionally, to make the clinical trial's research objectives more obvious, information about the purpose of the trial was rearranged from its original location so that it appeared in the opening sentence of the transformed document. Finally, to ensure local coherence, we checked the final text to ensure that the referents of pronouns were explicit. The coherence-transformed clinical trial text appears in Figure 3.
Figure 3. Clinical trial document with coherence enhancement.
The revision of this document involved a macrostructure analysis, performed by the nurse practitioner. This involved analyzing the relationship between sections of the document and the logic of the thematic organization of information within these sections. The nurse practitioner noted that grouping of diagnoses and complaints in the History of Present Illness and Diagnosis sections of the original document lacked a particular order. These complaints were accordingly regrouped into heart-related, diabetes-related, and related to breathing difficulties. "Chief complaint" was added to the breathing difficulties subheading. Just as the research objectives of the clinical trial were made more prominent in the transformed text, so for the Visit Note, medical concepts were explained in the body of the document. For example, in the Physical Examination section, test results were explained and interpreted (eg, by placement within or outside the normal range). In the Medications section, medications were regrouped by function; specific functions (eg, breathing problems; heart function and blood pressure) were explained, as were methods of action of individual medications.
Once we completed the coherence editing, we analyzed the text for readability level according to the Flesch-Kincaid Grade Level formula [32]. Based on these findings, adjustments were made to the Coherent condition of the clinical trial document, to ensure that its readability level remained comparable with that of the original text. In the case of the Visit Notes, the readability score for the coherent version was significantly higher than that of the original (see Table 1). As was noted early by Chapman et al [33], calculation of reading level using Flesch-Kincaid can be problematic for clinical text, because this formula relies partly on sentence length to establish difficulty, and medical documentation can be written in very short sentences. In our Visit Note, many sections of the original text were not written in complete sentences, resulting, in our estimation, in a deceptively low grade. In this case, we decided not to attempt matching readability levels, deeming that the Flesch-Kinkaid formula underestimated the difficulty of the original.
Table 1. Text characteristics of documents
and condition Number of words Number of vocabulary
definitions Number of sentences Grade level
(Flesch-Kincaid)
Original 108 NAa 6 14.1
Dictionary b 12 b b
Vocabulary b 12 b
Coherent 394 NAa 18 13.8
Original 326 43 9.5
Dictionary b b
Coherent 1219 66 11.3
a Not applicable.
b Dictionary- and Vocabulary-enhanced versions had the same number of words and same Flesch-Kincaid Grade Readability Level and sentences as the original versions.
Study participants worked on individual computers; a research assistant served as proctor, observing at all times to ensure that work was done individually. Participants were randomly assigned to one of the four conditions (Original, Dictionary, Vocabulary, or Coherent). It was explained to all participants that some of them would see balloon features in their documents, and that they should feel free to take advantage of these features.
The order of presentation of the clinical trial and Visit Notes documents was randomized among participants. After completing the anonymous demographic questionnaire, participants read their first document on the computer screen. After a waiting period of 10 minutes, participants wrote their recollection of the text they read in this document using Microsoft Word. They were instructed to retell the document they had just read as if they were making the information available to a person who had never seen it before. In addition, participants in the second, but not the first, cohort answered an open-ended questionnaire about the text they read (see Textbox 3). This procedure was then repeated for each participant's second document.
Observation during the session indicated that participants did indeed invoke the balloon features. Participants were allowed to take as long as they required to "retell" each text; the modal time to completion was 20 minutes in both cohorts. The time period was selected to be sufficient for all participants to complete the task without pressure, regardless of the length of the stimulus text. All participants were able to finish their work before the time elapsed.
Open-Ended Questionnaire for Clinical Trial Text.
1. Who is being recruited for the study described in this paragraph?
2. This paragraph mentions measuring something. What is the thing that is being measured?
3. Why is it important to measure this thing?
4. Many health problems are associated with diabetes. Which particular health problem is the main focus of this text?
5. What is the innovation of the research described in this text?
Textbox 3. Open-Ended Questionnaire for Clinical Trial Text.
Coding and Statistical Analysis
There were three outcomes of interest: (1) number of propositions recalled, (2) open-ended questionnaire score, and (3) number of errors made by participants. These were collected over the four study conditions for each of the two document types. We assessed the effect of the conditions on the outcomes separately for each document type.
Demographic Questionnaire Analysis
Demographic variables were summarized by frequency and percentage or median and interquartile range (IQR) based on the distribution type of each variable. We compared demographic factor variables between the four groups with Fisher exact tests. We compared demographic score variables between the four groups with Kruskal-Wallis tests. The Kruskal-Wallis test was used because it is the nonparametric test for comparing more than two groups. All demographic comparisons were insignificant so no pairwise comparisons were made.
Propositional Analysis
We followed the standard procedure of segmenting original versions of each text into propositions, or basic units of analysis corresponding to two concepts connected by a relationship (eg, [antigen] attacks [immune system]) or a concept with a modifier (eg, severe [pain]) [34]. Disagreements about whether a particular statement constituted a proposition were resolved via discussions among three of the authors (AK, CAS, and PWD). Scoring was based on participants' recall of the propositions of the original texts. Lists of propositions found in the original texts were used as scoring sheets against which to analyze participants' recall.
Each transcript was scored to indicate the presence or absence of the original text's proposition in the retelling. The coding guide was developed through discussions, using a pilot (training) dataset. We obtained the pilot retellings from the our colleagues and family members with demographics similar to the participants'. Two raters (AK and CAS) scored three randomly selected pilot retellings of each document. The analysis of interrater reliability yielded kappa coefficients of .73 (substantial agreement), .8 (almost perfect agreement), and .83 (almost perfect agreement) for the Visit Notes and .71 (substantial agreement), .76 (substantial agreement), and .8 (almost perfect agreement) for the clinical trial. Disagreements were resolved via discussions, following which AK and CAS each scored half of the protocols. The transcripts were scored in random order and the scorer was blind to the condition being scored [35].
Open-Ended Questionnaire
We administered an open-ended questionnaire to each participant in Cohort 2, one questionnaire for each document type for a total of two questionnaires per participant. (For an example of the clinical trial document's open-ended questionnaire, see Textbox 3 above). Authors CAS and AK jointly coded all the questionnaires and resolved disagreements through mutual discussion. The clinical trial questionnaire was scored by assigning each answer a score of 0, 1, or 2, reflecting the accuracy and completeness of participants' answers; for the Visit Notes questionnaire, since answers reflected retention and understanding of much more granular information, a point was awarded for each medication, diagnosis, etc. recalled correctly by the participant.
Similar statistical analysis was performed for (1) the number of propositions recalled, (2) open-ended questionnaire score, and (3) number of errors. For each variable, initially, a Kruskal-Wallis test was performed to test for differences in the outcomes based on the four study conditions. In those circumstances in which the Kruskal-Wallis test was insignificant, the initial hypothesis that there would be no difference between the Original and Dictionary conditions was tested with a Wilcoxon rank sum test. If this test was also insignificant, then these two groups were combined and Kruskal-Wallis analysis was rerun comparing the three condition groups as follows: (1) Original + Dictionary, (2) Vocabulary, and (3) Coherent. If this Kruskal-Wallis test was significant, then pairwise Wilcoxon rank sum tests were conducted with Holm adjusted P values for multiple comparisons. All comparisons were conducted at an alpha level of .05.
In addition, post hoc power analysis was done for comparison of the Visit Notes total open-ended questionnaire scores among the four conditions. This analysis was done for the Visit Notes, but not for the clinical trial, because for the Visit Notes, the distribution of the medians for the four conditions showed a steady trend in the expected direction.
Table 2 shows results of the experiment and characteristics of the participants
Table 2. Characteristics of participants
Variable Intervention group P value
Original Dictionary Vocabulary Coherent
Gender, n (%)
Female 17 (85) 15 (75) 17 (85) 15 (75) .59
Male 3 (15) 5 (25) 3 (15) 5 (25)
Age (years), n (%) .48
<30 15 (79) 14 (70) 12 (60) 15 (75)
30–39 2 (11) 4 (20) 4 (20) 0 (0)
40–49 1 (5) 1 (5) 2 (10) 4 (40)
50–65 1 (5) 1 (5) 1 (5) 1 (5)
>65 0 (0) 0 (0) 1 (5) 0 (0)
Education level attained, n (%) .91
High school 3 (15) 2 (10) 3 (15) 2 (10)
College degree 12 (60) 12 (60) 10 (50) 12 (60)
Master's 5 (25) 5 (25) 7 (35) 4 (20)
>Master's 0 (0) 1 (5) 0 (0) 2 (10)
Degree typea, n (%) 1.00
Health-related 1 (5) 1 (6) 1 (6) 1 (5)
Nonhealth-related 18 (95) 17 (94) 17 (94) 19 (95)
Biomedical knowledge
Median (IQR)b 1.5 (1.0–3.0) 2.0 (1.0–2.0) 2.0 (1.0–2.0) 2.0 (2.0–3.0) .15
Diabetic knowledge
Median (IQR) 2.0 (1.0–3.0) 2.0 (1.8–3.0) 2.0 (2.0–3.3) 3.0 (2.0–3.3) .72
a Of highest earned degree.
a Interquartile range.
Number of Original Text Propositions Recalled
The effect of the version on the number of the original text propositions recalled was assessed separately for each document type, clinical trial and Visit Notes alike. Both document types showed insignificant differences between the Original and Dictionary conditions (P = .65, P = .48, respectively). The two conditions were combined for the subsequent analysis.
For the clinical trial text, the effect of the condition was not significant in any of the comparisons, suggesting no differences in recall, despite the varying levels of support (P = .84). For the Visit Note, however, we found a significant difference in the median total propositions recalled between the Coherent and the (Original + Dictionary) conditions (P = .04). This suggests that participants in the Coherent condition recalled more of the original Visit Notes content than did participants in the Original and the Dictionary conditions combined. No comparisons involving the Vocabulary condition were significant. Median, IQR, and range for the number of propositions recalled for each document type are presented in Table 3.
Table 3. Total propositions recalled
Document type and condition n Median IQRa Range Contrast P value
Original 20 8.5 6.75–12.25 4–21 Ob vs Dc .63
Dictionary 20 9.0 7.0–13.25 5–23
Combined (Ob + Dc) 40 9.0 7.0–13.0 4–23 Kruskal-Wallis .84
Vocabulary 20 10.0 6.75–12.25 2–18
Coherent 20 10.5 7.75–13.5 4–18
Original 20 17.5 14.0–21.25 9–39 Ob vs Dc .48
Dictionary 20 20.0 16.5–23.25 4–41
Combined (Ob +Dc) 40 19.0 15.0–22.0 4–41 Ob + Dc vs Vd .36e
Vocabulary 20 22.5 15.75–32.75 5–50 Vd vs Cf .62e
Coherent 20 25.5 20.5–33.25 13–41 Ob + Dc vs Cf .04e
b Original.
c Dictionary.
d Vocabulary.
e Holm adjusted P values for multiple comparisons.
f Coherent.
Open-Ended Questionnaire Scores
This comparison involved the effect of the conditions on the open-ended questionnaire scores. For both text types, the initial Kruskal-Wallis comparison of the Original and Dictionary conditions was insignificant (clinical trial: P = .70, Visit Note: P = .36), so the two conditions were combined. The analysis found no significant effect of the text version in any of the clinical trial comparisons (P = .86). The effect of the text version for the Visit Notes also did not reach significance (P = .20). Median, IQR, and range for the number of main ideas for each document type are presented in Table 4.
Table 4. Open-ended questionnaire scores
Original 20 6.0 3.25–8.0 1–10 Ob vs Dc .70
Dictionary 20 6.0 4.5–8.0 3–10
Vocabulary 20 5.5 5.0–7.0 3–8
Coherent 20 6.0 4.25–6.0 3–9
Original 20 11 10.25–14.25 7–20 Ob vs Dc .36
Dictionary 20 13.5 12.25–15.5 9–16
Combined (Ob + Dc) 40 12.5 10.75–15.25 7–20 Kruskal-Wallis .20
Vocabulary 20 14.0 13.0–18.75 7–20
Coherent 20 15.0 14.25–15.0 10-18
Because the open-ended questionnaire was added to the study after the first half of the participants completed the study, the data sample was small, consisting of 10 participants per condition. We performed a post hoc power analysis for the test of differences between the four treatment conditions for Visit Notes open-ended questionnaire scores. With the assumption of normal data with means 11, 13.5, 14, and 15, which were the median values seen in the actual data, and overall standard deviation of 3.4, the post hoc power analysis indicated that we had only 57% power to find a difference with 10 participants per condition. To achieve adequate 80% power to detect a difference, under the normality assumption, we would have needed 16 participants per condition. Even though the data are nonnormal, they are only slightly skewed from normality, and this would only minimally increase the needed sample size for sufficient power. Median, IQR, and range for open-ended questionnaire scores for each document type are presented in Table 4.
Number of Errors
The initial Kruskal-Wallis comparison of the Original and Dictionary conditions was insignificant (clinical trial: P = .20, Visit Notes: P = .91), so the two conditions were combined. The analysis found no significant differences, regardless of the document type. Median, IQR, and range for the number of errors for each document type are presented in Table 5.
Table 5. Total errors made
Original 10 1.5 0.75–3.0 0–5 Ob vs Dc .99
Dictionary 10 1.0 1.0–3.0 0–6
Combined (Ob + Dc) 20 1.0 1.0–3.0 0–6 Kruskal-Wallis .47
Coherent 10 2.0 1.0–3.25 0–6
Original 10 2.5 1.0–3.25 0–7 Ob vs Dc .91
Vocabulary 10 2.0 1.0–3.25 0–5
Coherent 10 3.5 2.0–5.0 0–10
The results of this study expand our understanding of consumer difficulties with the technical language of medicine. Much research in this area has focused on terminology bridge solutions through technologies such as the Unified Medical Language System. Slaughter et al [36] looked at consonance of patient symptom expressions with nurses' terminology in the medical record, but the goal of this research was to understand differences, not to measure incomprehension. Similarly, Hong et al [37] compared terminology in an electronic health record system with patient-friendly terms in the same system to find consonance between the two.
On a purely lexical basis, a translation from clinical to consumer language is appealing. Unfortunately, making complex clinical concepts clearer to laypeople requires more than a dictionary. The physician's lack of time to explain concepts found in medical records was an often-cited criticism in the early literature concerning patient access to those records [8,11]. For this reason, two early studies built time and personnel resources into their design to avoid this problem. Golodetz et al [38] explained "necessary technical language" to the 60% of their study participants requesting this assistance (N = 103). Stein et al [39] provided their psychiatric patient participants with at least one nursing staff member to help explain terminology. Fischbach et al [40] surveyed the depth of the problem by designing a study in which patients and providers collaborated on authorship of the medical record: 20 patients with mixed diagnoses were asked to initiate and formulate their own problem list, with four providers suggesting modifications; both parties then worked together to write continuation notes (symptoms, clinical findings, and assessments). Fischbach et al found that physicians' prospective worries about the time required to effectively communicate were entirely justified; these coauthoring consultations took as much as 50% longer than traditional visits; but these researchers saw value in incorporating the patient perspective into the health care documentation process. Participation in the coauthorship process "helped to eliminate serious misconceptions on the part of the patients." In fact, a new language of cooperation was described as emerging out of this dialogue: "[T]he requirement for collaborative writing, which necessitated constant negotiation and feedback, created a meld of medical jargon and layman's slang into a mutually useful language" (p 3). [40].
What do the results of this study tell us? We present here our original hypotheses:
H1: Readers' comprehension of a text enhanced by providing standard, off-the-shelf dictionary definitions will not be significantly greater than their comprehension of the original text.
As expected, there was no difference in comprehension (as measured by the recall, answers to open-ended questions, or the number of errors) between the Original and Dictionary conditions. Comprehension was measured by the participants' recall, their answers to open-ended questions, and the number of errors they made.
This supports the contention of Zeng and Tse [16] that the simple provision of a dictionary does not improve reader comprehension. However, it is important to remember that the dictionary is only a vehicle by which vocabulary is transported; vocabulary is the real problem, not the dictionary itself. Dictionary definitions may indeed be simple, clear, and likely to help the user; for the medical words we reviewed, however, the typical consumer dictionary was found to be extremely unuseful. For example, the National Library of Medicine's consumer health website, MedlinePlus, is a portal intended explicitly for laypeople and not for health care professionals or researchers; among its licensed resources is the Merriam-Webster Medical Dictionary. This dictionary's definition for acetaminophen reads as follows:
a crystalline compound C8H9NO2that is a hydroxy derivative of acetanilide and is used in chemical synthesis and in medicine instead of aspirin to relieve pain and fever—called also paracetamol; see liquiprin, panadol, tylenol [41]
Readers who does not know what acetaminophen is are unlikely to be assisted by this information.
H2: Readers' comprehension of a vocabulary-enhanced text will be significantly greater than in the Original and Dictionary conditions combined.
This hypothesis was not supported. A specifically contextualized vocabulary developed for the purposes of this text did not improve comprehension, as assessed by any of the three comprehension measures. The lack of positive effect of a carefully constructed, clear vocabulary is counterintuitive. This result may be attributable to our choice of very complex medical texts for the study. The conceptual density of these texts may have created coherence gaps that were too large to be ameliorated by vocabulary definitions.
H3: Readers' comprehension of a text with improved coherence will be significantly greater than in the Original plus Dictionary condition.
This hypothesis is partially supported, for the Visit Notes document but not for the clinical trial document. The P value for the Visit Notes in the Coherent condition compared with the Original plus Dictionary conditions is significant at .04. For this particular hypothesis, then, the researcher's glass is half empty and half full. Many cognitive studies in other fields have shown that coherence is a factor affecting comprehension. Our results show that this is true for the Visit Notes document, a particularly impressive finding because, as discussed above, improving coherence of this document required making an already long text even longer—while the original Visit Notes document was 326 words long, the version with enhanced coherence totaled 1219 words. Despite this fourfold increase in length, the more coherent document still managed to hold the participants' attention. Examples showing the difference between a participant with high recall in the Coherent condition and one with a low recall with the Original text condition appear in Textboxes 4 and 5. Each example is a description of the cardiac problems remembered from the Visit Notes.
For the clinical trial document, however, this is still not a promising result. While the median recall was increased from 9.0 to 10.5 propositions in the Coherent condition over the Original and Dictionary conditions, the error rate remained the same in the Coherent condition as in the other conditions; that is, no matter what was done to the text, the number of errors remained constant. The clinical trial document, then, was apparently simply so difficult, and so short, that nothing was able to make it easier to read.
This hypothesis was rendered irrelevant by the overall lack of significant comprehension improvement in the Vocabulary condition. Our expectation had been that both the Vocabulary and the Coherent conditions would improve comprehension compared with the Original and Dictionary conditions, with the gain being greater for the Coherent conditions. In this study, however, the improvement was observed only for the Coherent condition (and then only for the Visit Notes text).
Excerpt of Visit Notes Text About Cardiac Problems Composed by Participant 28 Showing High Recall of Propositions [total of 43] in the Coherent Condition
1. The blood vessels are tightening as the result of a build up of cholesterol.
2. The patients heart beats irregularly
3. The patient has a pacemaker device to help control the hearts beat, this works by sending an electric pulse when the patients heart gets off beat.
4. There is a particular weakness in the left ventricle of the patient's heart.
5. The patient is on blood thinners to reduce the risks of clotting which are a special threat for patients having suffered a heart attack, such as this patient.
Textbox 4. Excerpt of Visit Notes Text About Cardiac Problems Composed by Participant 28 Showing High Recall of Propositions [total of 43] in the Coherent Condition
Excerpt of Visit Notes Text About Cardiac Problems Composed by Participant 5 Showing Very Low Recall of Propositions [total of 16] in the Original Text Condition
Patient Visit
b) Irregular heartbeat, wheezing, strong carotid pulse, soft abdomen, good oral hygiene, heart murmur, supple neck
Textbox 5. Excerpt of Visit Notes Text About Cardiac Problems Composed by Participant 5 Showing Very Low Recall of Propositions [total of 16] in the Original Text Condition
This study has limitations that may restrict the generalizability of its results. These include its small size (80 participants) and the educational background of the research participants: 90% were college graduates. This educational background, however, does allow us to make the suggestion that people with less education could have performed even more poorly. Additionally, our conclusions may be confounded by the fact that we tested only one clinical trial and only one Visit Notes document. It is difficult to<|fim_middle|> Bartholomew J, Morris R, Zander L. Consultants' and patients' views about patient access to their general practice records. J R Soc Med 1991 May;84(5):284-287. [Medline]
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Edited by G Eysenbach; submitted 06.05.11; peer-reviewed by D Kaufman, S Jamshed, A Lewis; comments to author 06.06.11; revised version received 08.07.11; accepted 10.08.11; published 02.12.11
©Catherine Arnott Smith, Scott Hetzel, Prudence Dalrymple, Alla Keselman. Originally published in the Journal of Medical Internet Research (http://www.jmir.org), 02.12.2011.
This is an open-access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/2.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work, first published in the Journal of Medical Internet Research, is properly cited. The complete bibliographic information, a link to the original publication on http://www.jmir.org/, as well as this copyright and license information must be included.
Smith CA, Hetzel S, Dalrymple P, Keselman A
doi: 10.2196/jmir.1842 PMID: 22138127 PMCID: PMC3278090 | say, for example, whether a clinical trial involving rheumatoid arthritis and Visit Notes involving pregnancy would have evoked different readability responses in our participants.
Conclusion and Future Directions
We conclude by reviewing the findings of this study and examining their implications for future work. The practical significance of this study lies in showing the full extent of the difficulty and labor intensiveness of improving comprehension of clinical documents. This work explores cognitive characteristics of the reader–text match that show why commonly attempted solutions—lowering readability scores and providing dictionary definitions—are not sufficient. It also points to strategies for intervention that merit future research attention. Much research effort could be directed at (1) identifying aspects of coherence that are particularly relevant for comprehending complex medical texts, and (2) seeking automatic tools that can aid in document revision. Statistically, we have shown that improving coherence of typical clinical documents has a small effect on consumer comprehension, but this task is not scalable with automated solutions and would be impractical with manual solutions. Perhaps a promise of automation scalability lies in an iterative hybrid approach, where automated textual analysis for coherence is followed by manual editing, which is then rechecked with an automated tool. While automatic text editing is still a matter of the distance future, validated automated tools capable of distinguishing between high- and low-coherence versions of textual documents do exist [26]. Unfortunately, while an automated approach is well fitted for analyzing indices of local coherence, such as argument overlap, it is not capable of assessing many aspects of global coherence, such as the appropriateness of topic sentences and the background information level. In the case of knowledge-rich texts, such as medical documents, increasing local coherence alone is likely to be insufficient. Further research is needed using texts from more diverse clinical domains and more heterogeneous participants, including actual patients.
Second, it is interesting that the coherence-enhanced Visit Notes document was able to hold readers' attention despite the fact that increasing coherence almost quadrupled the size of the document. This finding has implications not only for coherence, but also for text construction itself. It may be the narrative format that allows lay readers to form a more coherent story. Thinking of the medical record as narrative is a well-established trope in the medical humanities; Epstein, for example, writing about the development of genetics, points to the importance of the physician as writer: "a chronicler of bodily events and systematic narrator of particular phenomena in a particular context" [42]. Kennedy points to the "case...as the predominant form of medical narrative" and argues that it cannot be understood "aside from its involvement with literary discourse" [43] Recent work on illness narratives constructed from diaries—written by both nurses [44] and patients [45]—reveals that narrative structure assists participants in health care in sense-making—constructing a coherent account of the illness. In fact, considered in this light, the 30-year-old study by Fischbach et al [40] may have been as much about narrative as it was about medical record co-construction.
Finally, our results suggest that given the difficulty of engineering comprehensibility of clinical text, the most useful informatics tools will be those that can support the physicians, nurses, and patient educators tasked with making clinical information understandable to patients. These health care professionals use a repetitive cycle of explaining concepts, asking questions to ensure that patients comprehend, and explaining again. If the attainment of coherence is the end result of an iterative process, no single instance of a static document will solve the coherence problem.
The authors gratefully acknowledge the helpful assistance of Hyeoneui Kim, RN, MPH, PhD, during the development of the various text conditions, and Qing Zeng-Treitler, PhD; funding support by NIDDK 7R01DK075837; and the Intramural Research Program of the National Library of Medicine.
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Britten N, | 1,128 |
Having to be persuasive can easily tempt people to sway into gray areas when it comes to honesty and manipulation. Whether you're dealing with sales, are in a debate, or promoting a product via a marketing channel, it can be tempting to throw in an outrageous<|fim_middle|> efficient, and more effective, will result in a growing company that will see long term sales easily exceed those based on scammy sales practices.
Sales isn't an easy thing to do. It's especially hard in industries with high demand, and even higher competition. However, try not to be tempted by short term glory. At the end of the day, while you may win a few battles, you won't grow past the reputation you've made for yourself. Be honest – it'll pay off in the long term. | claim or flat out lie in order 'to win'.
While short term success can result from mischievous tactics, in the long run, I firmly believe that honesty and integrity eventually win out. You can lie your way to the top, or bag a big client by over-promising or lying about your competition, but ultimately people catch on, and your success ends. Here are some factors as to why honesty is so important in sales and marketing.
Trust is very much based on expectations. People you trust are those that consistently match your expectations based on their actions. If someone tells you they'll do something, but continuously fail to do it, then you begin to distrust them. The same thing happens to businesses and individuals when selling a service or product. Being honest in what you're selling allows the prospect to better define their expectations for what you're offering. If there aren't any surprises, there's less reason to doubt the integrity of your service. On the flipside, if you overpromise and use false claims, it won't take long for the eventual client to notice that reality doesn't match the expectations they were given. Over time trust erodes, and the client will eventually leave with a negative impression of you and your company.
Closely tied with trust is reputation. In an industry such as SEO, there are countless companies that are consistently mentioned as untrustworthy or 'scammy'. These negative reputations didn't simply form overnight or happen due to a misunderstanding. Shady sales tactics that involve painting a picture that's 'too good to be true', capture non-savvy prospects into long term commitments that result in an unhappy and desperate customer. While those companies continue to sell at a rapid pace in order to increase their client base, unhappy clients cancel their services as soon as they can and become disillusioned with the industry. It not only hurts the seller themselves, but the whole industry in general.
Those companies with solid reputations are forced to work harder to encourage new prospects, but ultimately benefit from longer term clients.
Setting realistic expectations is so important because it generates loyalty. Clients that trust your services or products usually end up staying loyal to your brand, through good times and bad times. While being realistic in your sales pitch may make your job a little bit harder, it results in a client that remains with you longer. If you sell a service that is based on a monthly retainer, this means a higher lifetime customer value, resulting in better long term profits. Why spend the time to quickly sell a client who will angrily leave in 3 months, when you could actually work with a prospect that could become a loyal client for years?
At Motoza, our average client retention for SEO is about 26 months. In comparison to other SEO companies, this number is well beyond the industry average. We credit that to simply being honest in our sales pitch, in our transparent communication with our client, and prioritizing trust over retention.
An often overlooked aspect of sales is how it affects your product team. Being dishonest, or using false claims in order to get a signed contract add extra pressure on the customer service and product teams within your organization. No company likes angry clients. The extra time and effort put into trying to retain a customer, or delaying with complaints could be used in ways to improve your service, improve your team morale, and make advancements in your industry. While huge corporations with million dollar budgets can afford a robust sales and retention team, the small business owner should focus on what's important, their service.
Businesses, whether they're based on a service or product model, need to find time and resources in order to evolve and grow. Between sales, marketing, finance, product development and customer service, it's usually very difficult for small businesses to grow. Why add extra stress to your company when you could be finding ways to streamline your processes and improve your services? At the end of the day, becoming more | 795 |
Governors are appointed, elected or co-opted for a fixed term. The Governing Body is made up of representatives from the staff, parents, community and members nominated by the local authority. The Headteacher is also a governor.
The Governing Body supports, guides and works in partnership with<|fim_middle|> or emails should be addressed to the Chair of Governors and sent to the School Office who will pass them on to the Chair of Governors.
The Clerk to the Governors is Laura Forgham. | the Headteacher to focus on the school's strategy for excellence and continuous improvement. Our Governing Body is comprised of a diverse group of local people with a range of experiences and expertise. The full Governing Body meets at least four times a year with much of the work of the being carried out in termly sub-committee meetings. These include:
Resources and Planning Committee which oversees buildings and grounds, Health and Safety, finance, staffing issues and the overall development and forward planning of the school
Standards, Teaching and Learning Committee which meets to discuss aspects of what is taught in school and results
We have an active governing body who work closely with the Headteacher and staff and their responsibilities include: the general conduct of the school; the appointment of staff; the school environment and the welfare of the children and staff; the curriculum; setting and monitoring the school's budget; contributing to the School Development Plan; and monitoring the overall effectiveness of the school.
Following the parent governors election, the staff governor election and the first full governing board meeting on Thursday 3rd January 2019 the membership of the Shillington and Stondon Federation Governing board is as follows;
The Governing Body
Governor Name
Type of governor
Membership of sub-committees/specific role
Katie Brettell
Co-opted
Vice Chair of Governors, Resources and Planning Committee, Safeguarding Link Governor
Resources and Planning Committee, Health and Safety Link Governor
Nick Caveney
Standards, Teaching and Learning Committee
Charlie Wakely
Standards, Teaching and Learning Committee, Emotional Well-Being link Governor
Alison Graham
Alex Ford
Resources and Planning Committee, Finance Link Governor
Sarah Woodham
Resources and Planning Committee, Standards, Teaching and Learning Committee
Louise Reece-Jones
Resources and Planning Committee
Carol Summerfield
Resources and Planning Committee, Pupil Premium Link Governor
Jeanette Mills
Standards, Teaching and Learning Committee, SEND Link Governor
Kirsty Whitehead Co-opted Resources and Planning Committee
Lee Fitzpatrick
Chair of Governors, Standards, Teaching and Learning Committee
Kerry Young
Associate, Deputy Head of Shillington
Ciara Dumpleton
Associate, Deputy Head of Stondon
Sue Young
Standards, Teaching and Learning Committee, Look After Children Link Governor
Associate Members of sub-committees only
Angela Phillips
Resources and Planning
Simon Greenhalgh
Jenny Davison
The Register of Governor Interests is available here
The Register of Governor Attendance is available here
How to contact the Governing Body
Letters | 530 |
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From First Sign-Up to Director in Nine Days! : First Sign-Up to Director in Nine DaysBrande Bradfordbrande@brandebradford.comCopyright 2003, Brande BradfordI should really begin this article by explaining my state of mind and the state of mind of my husband, prior to joining (COMPANY).
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Financial Security for Women 101: Know Where You Are : Although the intent of this series is to help the average woman develop the basic financial skills, there are people of both sexes, from all walks of life, that opt to allow others (or no one) to manage their finances. It may be 'easier' on the surface to be disconnected from the stress of financial management, but ignorance is not bliss when it comes to your money and your future.
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What is Network Marketing? Is it For Me? : We have all heard the hype! "Make a million dollars over night in Network Marketing". The fact of the matter is, you can make a million dollars in Network Marketing! Once you have developed two principals or habits and make them a part of your everyday life!First, is that you must pay attention to your business, every minute, of every day! Does that mean giving up what I love to do? No, it means incorporating it in everything you do! Remember that everyone you know, everyone you meet is potentially a customer, a prospect, a referral, a center of influence, or maybe just your personal cheerleader!Secondly, you must be Selfless! Dedicate yourself to helping others become successful and achieve their goals first! This is what will determine how fast your business grows and you reach your first million.
Network Marketing the Internet and the People! : The Internet and eCommerce are being used by hundreds if not thousands of companies around the world. The network marketing industry, including Quixtar, Six Figure Income, Cognigen, Madison Dynamics, and many others are investing millions of dollars in technological support of their distributors and affiliates.
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Business Partners & Marital Partners Will The Marriage Survive - Part II : In the last article, we concluded by saying that keeping your business and personal relationships separate is very important to the survival of both your business and your marriage. In this article we will talk about how to achieve this goal.
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Television - The Great SATAN! : Television - The Great SATAN! By: Kayla Fay I've often thought that in 6 million years, archaeologists will marvel at the devotion the 21st century Earthlings had to their household gods. Excavation will show these deities in virtually every home, obviously objects of devotion, the focal point in a room.
Winter Blahs Become Family Fun : er Blahs Become Family Fun By: Sarah Zanger After spending another dreary winter Sunday with not much to do I decided our family needed an exciting activity. I thought I needed a break from planning dinner so I'd give myself a break and give them an activity.
Business Partners & Marital Partners, Will the Marriage Survive? (Part II) : ness Partners & Marital Partners, Will the Marriage Survive? (Part II) By: Chuck & Sue DeFiore In the last article, we concluded by saying that keeping your business and personal relationships separate is very important to the survival of both your business and your marriage. In this article we will talk about how to achieve this goal.
Make a Budget to Help Your Dreams Come True : a Budget to Help Your Dreams Come True By: Monica Resinger A budget is a very important tool when you are trying to meet financial goals. It helps you to see where your money is going and therefore helps you determine where you can cut back.
Make Lemonaid from a Lemon : Lemonaid from a Lemon By: Debra Vaughn About 2 months ago my family grew by one more. When we had our baby, the reality that we could no longer fit our family into a car hit us.
Favorite Desserts For A Diabetic Husband : Favorite Desserts For A Diabetic Husband By: Abigail Baker It's easier than you think to create delicious desserts for your diabetic husband. When I had to get right down to it the ideas came flying at me out of my kitchen cupboard! Here's a few of his favorites: Easy Orange/Banana Parfait 1 pkge Lite Orange Jello (no sugar) 2 cups vanilla yogurt (fat free, no sugar but artificially sweetened) 1/2 tsp vanilla 2 tsp Splenda 1 banana 1/8 cup Lite cream cheese Makes 4 servings Prepare the jello per the package directions.
All You Can Stomach : All You Can Stomach By: Ed Williams I love eating out. Going to a good restaurant is one of the most pleasurable things imaginable.
Use H-O-L-L-Y to Beat Christmas Cooking Stress : Use H-O-L-L-Y to Beat Christmas Cooking Stress By: Kristin Johnson What does holly, that untidy traditional greenery you just have to festoon your house with every year, have to do with not tearing your hair out before it's even Thanksgiving? Plenty. You can use H-O-L-L-Y to help you get organized.
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Insomnia Fighters - How To Sleep When You Have Money Worries : Insomnia Fighters - How To Sleep When You Have Money Worries By: www. sleepsecrets.
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An ADD Case Study: When the Pace Picks Up, Learn to Slow Down : An ADD Case Study: When the Pace Picks Up, Learn to Slow Down By: ADD Management Coach Jennifer Koretsky The fall season signals a shift in most people's minds. The summer is coming to a close, and it's back to school, work, and the other things that we haven't put as much effort into since Memorial Day.
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Fishing Decor - Manly yes - but Women like it too : Fishing Decor - Manly yes - but Women like it too By: Johann Erickson Most might think that fishing décor is only for little cabins in the woods, but this style of decorating can actually work well in any home. For the avid fisherman who also enjoys a bit of nostalgia, this is the perfect décor for a den or a game room.
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SIGNS OF INFIDELITY - 21 Categories of Telltale Signs : With infidelity reaching epidemic proportions, every woman should learn how to recognize the telltale signs of infidelity. The future of her relationship could depend on her ability to spot the telltale signs in time.
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Thanksgiving : A Multicultural Adventure ? : There we were, newly married, living thousands of miles from either of our homes, in Durham, NC where he was in medical school. My husband was from Texas, and I was from the North Shore of Chicago.
Do You Love Someone Who Suffers From Depression ? : Publishing Guidelines: You have permission to publish thisarticle electronically or in print, free of charge, as longas the resource box is included with a live link to my site. A courtesy copy of your publication would be appreciated.
Women and Men : Never The Twain Shall Meet : "Dear Happy Guy,"I just don't understand men. Last night I was sitting at the kitchen table, when my husband wandered by with a glass in his hand.
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The Mind of A Successful Thinker : I was'nt born with a clear thought in my head. It's always a jungle and a puzzle in there.
HOW MUCH ARE YOU ? : You have probably repeatedly heard, "Be all you can be!" How much is that?Do you have any idea? Do you have any idea of how much you want it to be?Platitudes are great. We throw them out and we think we have said somethingof great and profound importance.
WHAT YOU REALLY NEED TO HAVE GREAT RELATIONSHIPS : Most folks live, work or play with other folks. We all need theskills to play nicely together.
Simple Planning Makes for a More Enjoyable Vacation : Simple Planning Makes for a More Enjoyable VacationJune is "Rebuild Your Life" Month. .
Shameless Self-Promotion : eless Self-Promotion By: Janice D. Byer, MVA Hi! My name is Janice Byer and I am the owner of Docu-Type Administrative & Web Design Services (http://www.
Inspiration Through Intuition : I have always been aware of the voices inside my head. More so now that I know what to listen for, but they've always been in my awareness. | spending so much time with your new home computer, is your family showing signs of jealousy? Do they compete with this inhuman time hog for your time? Or, at least, do they FEEL they have to?And what can | 47 |
When we first got into real estate aerial photography we scoured the web for statistics proving the value of the service. We found none. Since then we have seen a couple stats pop up here and there. However, when we looked into the<|fim_middle|>. If a homeowner was visibly annoyed during the conversation, we refrained for asking the question. It should also be noted that ~30% of the responses were collected from homeowners who were having aerial photography done by us. It is possible this slightly skewed the results. However, that pool was not noticeably different than the normal homeowner pool so any aberration should be minimal.
As expected, properties with more land used drones at a higher rate. Of the large properties not using drone shots you would occasionally see satellite imagery. I suspect there is opportunity to sell drone services to these agents in particular.
The amount of high volume agents using aerial photography is very telling. It seems the best agents realize the value. We determined the results by taking the agents with the top 25% of sales volume and labeled them high volume. Those in the bottom 25% we labeled low volume. The rest we lumped in the middle and averaged the number of occurrences of drone photos.
We expected more of a jump with houses over $1 million. If we were to do the study again we would set a lower starting point to see the jumps from 300k to 400k to 500k.
Outdoor features did not seem to have much effect on aerial usages as decks were more common in general. It is our view that high decks and "in ground" pools show very well from a drone. There are likely opportunities to sell to agents with listings that have these features. | stats to see where they were pulled from it seems almost as if they appeared out of thin air. Therefore, we saw a need to have statistics that we knew were accurate in order to use with customers. That was the impetus for this study.
For the purpose of the study we utilized 2 separate datasets. The first dataset was comprised of 300 real estate listings we manually collected from publicly available websites. We targeted single family homes listed at $500,000 or more. We collected data from multiple markets, however Southeastern Pennsylvania had the largest share. Data collected included listing price, address, if drone photos were used, acreage, outdoor features and more.
Collecting the second dataset was arduous to say the least. We wanted to be able to determine homeseller interest in drone marketing. Over the course of 3 months we visited over 200 homes asking homesellers one question.
If a real estate agent were to market your property using drones would you be more likely to use them as an agent, less likely or would it make no difference?
We learned early in the survey that homeowners who were annoyed you are taking up their time will give overly negative responses | 244 |
Posted on October 3, 2013 by Shamwest
As I stated previously, William was able to secure the contract for making tiles on land owned by Lord Stanley. Again, here we are speaking of "drainage tiles" much like the "culverts" of today except for being made of clay. The productivity of land has much to do with drainage and most landlords set about this task not only for their own profit but as part of the political scheme of the times.
The Stanley family had a very long history in Lancashire, England and also a long involvement with the governance of Ireland through the first Thomas Stanley . His son, Thomas the first Earl of Derby became " one of the most powerful landed magnates in England whose authority went<|fim_middle|> since she did recover enough to have another daughter, Sophie, in 1867.
This entry was posted in Ireland, McDowell Family, Tipperary and tagged daughters, Sarah Clark, tiles, Tipperary, Tippery by Shamwest. Bookmark the permalink. | almost unchallenged even by the Crown." Moving forward in time, Edward Henry Stanley who owned the land in Tipperary was a British politician and brother to Frederick Arthur Stanley who moved to Canada and whom the Stanley Cup is named after.
From the Landed Estates Database, which I have to say is one of my favourites, we find that the land in Solloghodmore did belong to Edward Stanley ; "In the mid 19th century Lord Stanley's county Tipperary estate was in the parishes of Railstown, St Johnbaptist and St Patricksrock, barony of Middlethird and Emly, Kilfeakle, Shronell and Tipperary but mainly in the parish of Solloghodmore, all in the barony of Clanwilliam."
Map showing Solloghodmore, Tipperary
So, Will and Sarah left Northumberland and settled in Solloghodmore with the 5 children, presumably on the Stanley estate, in the townland of Lisheenamalausa. Whether the tilery was already there or whether William saw to its building we don't know but the granddaughters definitely had memories of playing on the beehive shaped kilns when they were young; "…and when I was there, aged about 5 or 6, we played on top of the old kilns, spending hours making daisy chains to hang around the neck of our playmate, an old goat." Soon, Sarah was pregnant again and had another girl, Agnes, born in 1861, bringing the total to 5. I imagine William got a lot of good-natured ribbing about the number of girls he was producing!
In 1863, tragedy struck when James who was then 10 years old, fell from a hayloft and was injured very badly. The injuries included damage to his eyes. The type of father William was is shown by another memory of a great-granddaughter, "Granny remembered him (James) not being able to walk, and being pulled around in a go-cart which his father made for him." James was taken to the famed oculist, Sir William Wilde (Oscar's father) but he could do nothing for the little boy. He eventually died from his injuries. From other writings, we are told that Sarah suffered a breakdown after this which she did not fully recover from. A matter of conjecture | 503 |
Day 9- On Wednesdays We Wear Pink!
Today Squeakybrat<|fim_middle|> shipmates. | started the day with eggs and muffins cooked by our excellent chefs Corinna and Maddy. The AQ fleet had a rotation day today, meaning the shipmates rotated between activities every two hours. Maddie, Ben and Corinna completed two fish identification dives before lunch. They saw tons of groovy fish, such as a moray spotted eel and a squirrel fish. They said it was very satisfying to see the fish they have been studying in real life. After lunch the Carina's went Picoing. The DMs were dispersed, doing numerous activities including assisting with open water divers doing confined water dives, leading advanced divers on fish identification dives, helping with surface support, working on our own diving skills and swim tests. I was very excited to get to work with scuba students for the first time. I loved seeing their eyes glisten when they aced a skill they were working on. Josie and Alex W. say it was amazing to share our DM knowledge with new students. Another high point of my day was doing a full equipment exchange while diving at depth with Josie in the morning and Quinlin in the afternoon and getting a perfect score both times. This evening everyone returned to Squeakybrat (who is squeaky clean compared to some other boats) wiped out from our awesome day. We ate chicken Caesar salad and risotto for dinner that Alex H. lovingly prepared for us. Dinner ended on an exciting note when we saw a helicopter that we believe was Richard Branson's. Hope everyone's doing well back home and not to jealous of these | 322 |
NEW Moisturizing Cool Gel Cream(s)<|fim_middle|> go jogging sometimes and lately I am also into indoor cycling cardio exercise. I do care about my appearance but not as much as I care about my behavior, work & the way how I interact with others these days.
It's like how we've been learning from flight attendant all along who always said, "and remember, in the event of emergency, secure your mask first before assisting others". If you do not care for yourself. You will not be strong enough to take care of anything in life. Live longer to explore the world, to inspire, to payback the society, for your friends/family. We all only live once, let's do it right!
You don't have to get all of them but try one or two and experience yourself. Hope you like my skin care tips! | that will keep your skin cool and refreshed during the summer heat. This latest ultra-COOL innovation delivers a burst of soothing, healing moisture and leaves skin a fresh, satin finish. Infuse your skin with the sea-sourced renewing energies.
I do believe work-life balance and stay happy is the secret of long life. I don't drink to get drunk, I watch a lot of movies, I laugh a lot, I | 87 |
Make the batter by cracking the eggs into a measuring jug. Note the measurement of eggs and transfer the eggs to a large mixing bowl.
Add the same volume of flour as the eggs to the jug and add to the mixing bowl. Do the same with the milk.
Whisk the eggs, flour, and milk together with a pinch of salt until well combined into a batter. Set aside.
Cut the sausages into chunks and thinly slice the mushrooms and white onion. Set aside.
Heat the vegetable oil in a large frying pan over medium-high heat. Add the sausages and cook until browned. Transfer to a plate and set aside.
In the same pan<|fim_middle|> the onion gravy. Heat the frying pan used to cook the sausages on a low heat and add the butter. Once the butter is melted, add the sliced onions and cook until softened. Next, add the flour and stir through and cook for 2 minutes. Crumble in the beef stock cube and add 500ml of hot water to the pan. Stir and leave to reduce for 5 minutes. | , add the mushrooms. Cook until all the moisture has left the pan and the mushrooms have cooked through. Set aside.
Pre-heat the oven to the highest setting. Brush a small, deep baking tray with vegetable oil and heat in the oven until the oil is smoking.
Carefully add the sausages and mushrooms to the hot tray. Next, add the batter. Put in the oven and leave to cook for 10 minutes, until the batter is puffy and golden brown.
Meanwhile, make | 102 |
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NAS Jordan to Operate and Manage Aqaba Air Cargo Terminal for another 20 Years
Aqaba,<|fim_middle|> establishment in 2004.
As the exclusive cargo services provider, NAS has been the driving force at AACT since 2006, providing world class services including ground operations, cargo handling, warehousing services, bonded storage, safety and security services as well as ground equipment. The company introduced an advanced cargo management system to comprehensively manage every aspect of the cargo business ranging from pricing, cargo operations and billing to supply chain management. NAS also invested in the modernization of the cargo services by automating processes and providing transparency and tracking services to customers, which greatly supports import and export in the country.
Hassan El-Houry, Group CEO of NAS said, "We are excited to renew our contract and serve the Aqaba Air Cargo Terminal for another 20 years. In the last term, we fulfilled our commitment to the country by maintaining the highest levels of service with a strong focus on safety and security while investing into the development and operations of air cargo services. This helped unlock Aqaba's air cargo potential and put Jordan on the global map for trade in line with the Royal vision to transform Aqaba into a world-class business hub and leisure destination. We also offered a platform for export growth that was sustained by His Majesty King Abdullah II's leadership as a driver for international trade and job creation. With the renewed agreement we aim to further enhance the air cargo offering in the country and introduce new initiatives in the near future."
In 2020, NAS also successfully completed the Regulated Agent third country validation process (RA3) for air cargo operations in Aqaba. This internationally recognized validation and certification process ensures EU regulatory compliance for air cargo transportation to EU countries. The validation demonstrates NAS's compliance with EU air cargo security regulations and standards, including access control, cargo screenings, external and internal audits, among others. El-Houry highlighted, "Jordan's economic environment is favorable to foreign investment. With NAS's investments into Jordan's aviation industry, we also remain committed to growing the country's economic prosperity in the coming years."
At NAS, our multi-cultural and diverse team of employees is core to our success. We continue to invest in training and development programs for the benefit of both our employees and customers. NAS also welcomes talented individuals from different countries to join our multi-cultural and dynamic workforce.
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INST: 2PF | Jordan : Monday, May 3, 2021
National Aviation Services (NAS), the leading airport services provider in the emerging markets has renewed its contract with the Aqaba Development Corporation (ADC) and Aqaba Airports Company (AAC) to operate and manage Aqaba Air Cargo Terminal (AACT) for another 20 years. Aqaba with its strategic location and status as Jordan's special economic zone is a regional hub for trade, tourism and culture. The air cargo terminal, located within the King Hussein International Airport has been key to Aqaba's logistics capabilities since its | 124 |
Thanks to our boat building talent, Cameron Marr, and the rest of the team at Seacraft Miller Moyes<|fim_middle|> an employment service from each of its 13 offices nationwide and has a wide network of employers who have successfully employed Deaf staff for many years – contact your local office to find out how we can assist you.
Deaf Aotearoa operates an interpreter service, iSign, which provides interpreters throughout the country. iSign has over 80 contracted interpreters who work in a wide range of settings including many workplaces, and are able to respond quickly to your interpreting needs. | - especially manager Denis Kendall.
Very appreciative to Wayne Cloete for his time as our mechanic, which we filmed at Gough Materials Handling.
Thank you to Melanie Hyslop at Aon NZ for her time on set!
Geneva Elevator were instrumental in making this video happen. Geneva Elevator offer specialised employment placement, advice and training for people with disabilities, and ongoing support at work. They have a specialist team dedicated to working with people who are Deaf or hard of hearing.
Deaf Aotearoa operates | 106 |
Podcasts are great for commuting. You get fresh content regularly, on almost any topic out there. I hardly ever listen to music on my iPod, since the only time<|fim_middle|> astronomy, to quantum physics, to drug use, to computer programming, to parenthood, etc. Greg and Jeff have a great rapport with each other, so even if they are talking about random things, it is entertaining.
That is my list of beer podacsts that I enjoy. I have listened to a few others before, but I didn't really like them, either because the recording quality was too low, or the conversations weren't engaging enough, or it sounded like it was really just some guys taping themselves as they got drunk. If you know of any other podcasts (that don't fall into those categories) I'd love to hear about them in the comments.
I've also created an OPML file of these feeds, if you are interested.
This entry was posted in homebrewing/beer and tagged beer, homebrewing, podcasts. Bookmark the permalink. Post a comment or leave a trackback: Trackback URL.
There's a new beer podcast called Brewtal Battle that is starting to pick up steam in its episodes. It's a king of the hill style beer tasting format. There is good information shared and fun buddy banter as well. | I really ever listen to music is when I'm at work, and that is really just to help drown out distractions around me.
Basic Brewing Radio – James Spencer hosts this podcast, which is mostly an interview format. He starts out responding to listener feedback (generally submitted in the form of email), and then plays an interview he conducted. The interview subjects are often other homebrewers who have performed experiments, or professional brewers. Chris Colby from Brew Your Own magazine is also a frequent guest, and he discusses an upcoming topic from the magazine with James. The production quality of this podcast is very good, presumably since that is what James does for a living. I guess the podcasts started out as a way to promote the DVDs that he sells on his web site, so there is a certain amount of self-promotion and shameless plugging in the podcast, but it is all at the beginning and the end, and he never goes into a rehearsed-sounding reading of some ad copy during the interviews. For this reason, these plugs are complete non-offensive, and don't bother me in the slightest.
Basic Brewing Video – James Spencer and Steve Wilkes produce a short (~10 mins) video episode, every couple weeks. It usually consists of a demonstration, or something that is visually appealing. This contrasts with the audio podcasts, which is just conversation, of course. I only mention this because some people who produce both audio and video podcasts will just video-tape themselves talking, and call it a video podcast. Basic Brewing Video actually makes very good use of the media. Once again, the production quality is very high, and the self-promotion is all stuffed into the end, so it is not annoying.
The Jamil Show – Jamil Zainasheff hosts this show, along with John Plise. They go over each of the styles in Jamil's book, Brewing Classic Styles: 80 Winning Recipes Anyone Can Brew , one style per episode. These episodes are actually done live, and people listening live can ask questions in the chat room, which Jamil will address toward the end of the show. There is an amazing wealth of information in this show, but it is full of advertisements. They will interrupt the show to go to commercial break, and play pre-recorded commercials, and also Jamil will find a way to mention how much he loves Northern Brewer a few times during the show. It can get pretty annoying at times, but I still like the show for all the information it provides. You can also tell when the guys have perhaps tasted a little too much beer during the show, and they get off topic. It is still entertaining conversation, though, for the most part. The production quality is very good here.
Craft Beer Radio – Jeff Bearer and Greg Weiss host this beer-tasting podcast. They will choose a theme for the episode, and taste and discuss beers that fit that theme. The themes are usually beer styles, but they can be other things too, like picking beers from a particular state, or all from one brewery. They analyze the beers, but don't pay too much attention to style guidelines. They will mention if a beer doesn't quite fit the style guideline, but the primary thing they evaluate is how enjoyable the beer is to drink. I like this approach a lot, since beer should be about enjoyment, not about hitting the right numbers (IBUs, SRM, SG, etc). They also promote an atmosphere of responsible and respectful beer appreciation, often noting that a beer isn't worth the "sobriety tax" if it is high in alcohol, but wasn't flavorful enough. The production quality is very good now, though it wasn't so great in some of their earlier shows.
Craft Beer Radio Pre/Post Show – This isn't really a beer podcast, but it is the same guys that do Craft Beer Radio. They record their conversations before and after the main show (which they do a great job of keeping beer-related). They will usually discuss beer at least a little bit, especially if they are tasting one. They also discuss many other topics, from popular television, to | 840 |
The iconic "Full House" and now "Fuller House" home is heading back onto the market next month. The five-bed, 3.5-bath Victorian in the tony Lower Pacific Heights<|fim_middle|> several top private schools.
The future owner will have "to think it's fun that their house would be celebrated and admired—and [not] mind if there's a bit of a crowd standing outside," Hatvany says.
The post Iconic 'Full House' Home Heads Back Onto the Market in San Francisco appeared first on Real Estate News & Insights | realtor.com®. | neighborhood in San Francisco is famous because it was featured in the opening credits of the shows.
Homeowner Jeff Franklin, the creator and executive producer of the series, is unloading the property, now that the Netflix hit sequel "Fuller House" is to debut its fifth and final season this fall.
"Full House," which aired from 1987 to 1995 on ABC, focused on a widowed father (played by Bob Saget) raising three daughters (Candace Cameron Bure, Jodie Sweetin, and Mary-Kate and Ashley Olsen alternating as baby Michelle) with the help of his brother-in-law (John Stamos) and best friend, Joey (Dave Coulier).
Franklin purchased the 3,125-square-foot home for $4 million in 2016, according to realtor.com® data. Since only the exterior of the home was used in the filming of the shows, Franklin applied to the local planning department in 2017 to renovate the inside of the home to match what it looks like on set. After neighbors complained that this would make the house even more of a tourist attraction, his permit was revoked.
And even without the work being done, whoever buys the home will need to deal with the packs of selfie-taking fans.
She didn't remember anything "extraordinary" about the home, although she touted its high ceilings and close proximity to | 291 |
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As a leader in game dialogue audio since 2002, we apply our AAA experience to every project we work on. We use our AAA knowledge to successfully implement dialogue in mobile games to deliver outstanding quality<|fim_middle|>'s audio development process to ensure you get the results you want. Whether you need us to integrate audio in your game or just record specific sounds, our studio can do it. We adapt to your game's scope and budget to deliver solutions that fit.
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In Unchained: A Van Halen User Manual, Martin Popoff emcees, drink foisted high, a kaleidoscopic celebration of Eddie, Alex, Mikey<|fim_middle|> eleven-episode Metal Evolution, and the ten-episode Rock Icons, both for VH1 Classic. Martin currently resides in Toronto. | , Diamond Dave, Sammy and even Gary and Wolfgang.
Indeed, in the spirit of the title, rock historian and music journalist Martin Popoff unchains himself from typical bookish flow, creating a guide to make full-bodied mastery of one's Van Halen catalogue, sending the user and abuser scurrying back to the songs, headphones on, looking for sonic nuggets likely missed the first hundred times passed during too light a repast.
All of this is handled through a symphony of recurring pull-boxes spanning the otherwise sturdy chapter-per-album framework, peppered as well by both black-and-white and colour images. To reiterate, the intention, once the manual's been studied, is full mastery on the part of the listener of one's personal Van Halen library. Time to love Van Halen all over again, and here's the manual to get you there.
308 pages, Paperback, 6" x 9".
Martin Popoff is the author of 78 books on hard rock, heavy metal, classic rock and record collecting. He was Editor in Chief of the now retired Brave Words & Bloody Knuckles, Canada's foremost heavy metal publication in print for fourteen years, and has also contributed to Revolver, Guitar World, Goldmine, Record Collector, BraveWords, lollipop.com and hardradio.com. Martin has been a regular contractor to Banger Films, having worked on the award-winning documentary Rush: Beyond the Lighted Stage, the | 299 |
The Return of our Festive Duo!
But 201<|fim_middle|> can! | 7 isn't quite over yet, and we're chuffed to welcome back two of our legendary Christmas ales for another year. Yep, you guessed it, Blitzen and Brian are back!
Blitzen is all about fun and flavour. It's a 4.0% Ruby Ale packing a heap of beautiful dark malty flavours with a touch of citrus from the orange peel that we add in the boil. It has a delicious biscuit character with a lovely sweet finish. A real Christmas cracker of a festive ale! This cheeky festive number is named after our favourite reindeer, Blitzen!
Brian on the other hand is a fresh, citrusy pale ale with a heap of juicy, zesty character from the WGV hops that we use in the brew. It has a light base with a touch of bready character. It's really easy-drinking and at 3.9%, the perfect session pint for the festive period. Not only is Brian a gorgeous pint, it's also an official beer of Monty Python, the result of our long-standing collaborative work with our friends at team Python! It was named Brian following a Facebook vote that was put out to over 1.2 Million people. Named of course after the legendary main character in the Monty Python film, 'Life of Brian'.
These festive beers will be available throughout December from both our Visitor Centre and a large number of pubs nationwide. Be sure to get a pint of it whilst you | 300 |
America's Got Talent video: Judge Cuts begin with Chris Hardwick
America's Got Talent July 15, 2017
The Judge Cuts are a part of America's Got Talent that we've come to love — it may actually be our favorite middle portion of any competition show.
Based on the video below, we're also in for quite a treat seeing a wide array of different performers who were all standouts in the audition phase. There are some people who are immediately recognizable here, whether it is the Singing Trump, the dancing pumpkin dude, or Sara Carson and her dog Hero, who we previously interviewed here at the site. We're hoping that some of these acts are actually the ones that are in the episode and this isn't some misdirect.
Out of the three that we've mentioned, we do think that Sara and Hero are clearly the best, but there will be some substantial competition elsewhere. For one, we're going to have (insert dramatic repose) more singers. We're interested in seeing if our new singer – golden buzzer theory holds true —<|fim_middle|>AGT) July 14, 2017 | one of the reasons why we see so many people get the golden buzzer here is not only because singers forge emotional connections, but also because they're often young and everyone in America likes seeing happy kids getting their dreams come true. (Personally, we actually find it even more rewarding seeing grown adults freak out who have really fought for it a long time — look at the reaction that we saw Malevo get last year.)
We'll admit that we're probably more biased than ever about liking Tuesday's episode given that we've got Chris Hardwick on board as a guest judge. He's one of our favorite people in entertainment, and we like to think that he'll have good, witty banter. The only guest judge that we can probably compare him to at the moment is Neil Patrick Harris, who had one of our favorite Judge Cuts moments ever when he gave a golden buzzer to Piff the Magic Dragon before taking a bit out of his sandwich after Piff gave it to him.
Hardwick of course also has some NBC cross-promotion, given that he's the host of The Wall and it makes sense to have him on this show, as well.
What acts are you the most interested in seeing on the America's Got Talent Judge Cuts coming up? Share in the comments!
Meanwhile, be sure to check out another fantastic interview from this past week featuring comedian Harrison Greenbaum. (Photo: NBC.)
It's the last chance before America votes! #JudgeCuts begin with guest judge @hardwick on Tuesday at 8/7c on @nbc. ✨ pic.twitter.com/CiTwySovH6
— America's Got Talent (@ | 337 |
It is with great pleasure we can announce Echelon Sports is now the exclusive authorized distributor for See.Sense Icon lights in Australia.
ICON is a high performing, intelligent and connected bike<|fim_middle|> come and to continue in building a fantastic brand within the Cycling Industry. | light offering riders exciting new features such as crash and theft detection alerts. The light has received rave reviews from cycling publications around the world, including Bike Radar, who called the lights, the smartest bike lights in history of bike lights. Currently stocked with retailers across the UK and Ireland, the feedback from those retailers is that they appreciate the build quality, overall high performance of the light as well as its intelligent features. A bonus from the retail point of view is that the connected features such as crash detection and theft alerts allow opportunities for it to be sold as a year-round product and not just confining it to the typical light-buying season.
See.Sense is excited to be working with Echelon Sports to bring ICON to bike stores across Australia, said Philip McAleese, See.Sense CEO. Australian Co-Founder, Irene McAleese, added: ICON is loved by cyclists. Our first light, the See.Sense intelligent bike light was very successful and was voted as Best Rear Light of 2015 in the road.cc People's Choice Awards. With ICON, we've built on all the good things from that light and delivered something even more exciting by adding connected features such as crash and theft detection alerts. ICON has gone on to receive rave reviews from every corner of the media, as well as our loyal customers.
Echelon Sports looks forward to working with See.Sense for many years to | 286 |
Port Ever<|fim_middle|>0,000 Florida jobs are impacted by the Port, including 13,127 people who work for companies that provide direct services to Port Everglades. For more information on Port Everglades, visit porteverglades.net or email PortEverglades@broward.org.
MEDIA CONTACT: Ellen Kennedy
Port Everglades Business Development Division/Communications
EMAIL: ekennedy@broward.org | glades Fiscal Year Numbers Reflect Stability, Progress
November 21, 2019 - Port Everglades
For the sixth consecutive year, Port Everglades container throughput exceeded one-million TEUs (20-foot equivalent units, the industry's standard measurement for containers) for a total of 1.05 million TEUs, according to a preliminary year-end Fiscal Year 2019 (FY19) report (Fiscal Year runs October 1, 2018 through September 1, 2019). The number of cruise passengers grew by one percent to 3.89 million during FY19 and petroleum volumes increased by 2 percent to 125.9 million barrels (42 gallons in a barrel). Overall revenue increased 2 percent from $168 million in FY18 to $170.7 in FY19.
"These numbers are strong, especially considering the high amount of construction underway at the Port," said Acting Chief Executive & Port Director Glenn Wiltshire. "We anticipate similar stable numbers over the next two years as we continue with the Southport Turning Notch Extension to add new cargo berths and Super Post-Panamax gantry cranes."
New automobiles highlighted the year as Horizon Terminal Services, which opened a new terminal in January 2018, increased the number of new vehicles moving through Port Everglades by 76 percent year-over-year to nearly 51,000.
"New vehicles are a new business line for the Port, and further diversifies our revenue stream," said Jim Pyburn, Port Everglades Director of Business Development. Port Everglades is one of the leading containerized cargo ports in Florida, the third largest cruise port in the world and South Florida's main seaport for receiving petroleum products including gasoline, jet fuel and alternative fuels.
Cruise business increased slightly during FY19 to a total of 3,892,215 passengers. The number of multi-day cruise passengers rose from 3,741,408 in FY18 to 3,773,062 in FY19.
Cruise Terminal 25, one of the industry's most revolutionary cruise terminals, opened early in FY19 in time for the arrival of Celebrity Cruises' first new ship class in a decade, Celebrity Edge. The Port also welcomed Holland America Line's newest Pinnacle-class ship, the 2,650-passenger Nieuw Statendam.
Petroleum volumes increased 2 percent to 125,874,463 barrels. Approximately 38 percent of the petroleum consumed in the state of Florida is stored and distributed by companies located within Port Everglades. Petroleum products, primarily gasoline and jet fuel, are delivered by tankships and barges to companies at Port Everglades and distributed to 12 counties and four international airports in South Florida.
About Port Everglades The Port Everglades Department is a self-supporting Enterprise Fund of Broward County, Florida government and does not rely on local tax dollars for operations. The total value of economic activity related to Port Everglades is nearly $34 billion. More than 23 | 674 |
BLONDIE'S DEBBIE HARRY PUBLISHING MEMOIR IN OCTOBER
by admin<|fim_middle|>cause it was such a shocking event and such a horrible thing that sort of rocked my world -- rocked all of our worlds. And I thought, 'Oh, God.' I was just really nostalgic -- and I am not a nostalgic person. I really enjoy moving on, and y'know, living."
AUDIO: DEBBIE HARRY ON NOSTALGIA | | May 30, 2019 | Music News
Blondie's Debbie Harry will publish her memoir, titled Face It on October 1st, via the Harper Collins imprint. Rolling Stone reported, "The book, which blends first-person essays with interviews conducted by journalist Sylvie Simmons, documents her band's ascent to new wave fame."
Harry said in the statement for the autobiography, "There are many more stories for me to tell; some funny, some scary, some warm, some chill to the bone. And if Face It appeals to people then I will get to telling more of the anecdotal bits of the story of Blondie -- like the time I met Rita Hayworth and Penny Singleton backstage at the Greek Theater in Los Angeles."
She went on to say, "This book is biographical and covers a lot of years. I know there will be questions asked because, in putting this together, I realized I have led a very full life and couldn't possibly cover everything in just one volume. I'm prepared for the best and the worst comments, much like when I have released an album or done a big show. I don't have a thick skin, but I do have a pretty good sense of humor."
Harry went on to say that the book will detail her past relationship with guitarist Chris Stein -- including how the couple dealt with his near-death battle against the disease pemphigus: "It's such a long period of time, and there's so much to tell, that I couldn't really isolate a lot of little stories and events. It's an overview of the way we got through and maintained and continued and carried on through all that time from my sort of warped little perspective."
Debbie Harry told us that it doesn't feel like 45 years since Blondie formed in Manhattan's Lower East Side: "Doesn't seem that long to me. The only time that it seemed long ago was after 9/11. All I could think of then was, 'Oh God, I wish it was the '70s again.' But that was ' | 427 |
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This story appears in the Winter edition of Ottawa Magazine. Buy the magazine on newsstands or order your online edition.
Young adventurer Tessum Weber plans to join the family expedition business when he finishes university. Photo by Harry Nowell.
Tessum weber can light a stove at<|fim_middle|>, Richard makes it clear that he didn't extend the invitation lightly. "I definitely thought about it a lot before I asked Tessum — about whether he was ready and whether he would be interested. Luckily, it turned out that he could get out of school for a short time." Tessum, who grew up in Wakefield, Quebec, was studying at the time for his bachelor of commerce at the University of Ottawa but was quick to say yes. His family, especially on his dad's side, has a real spirit of adventure, he explains. His late grandfather, Hans Weber, was a mountaineer and Arctic geophysicist who spent most of his career in the field, investigating underwater mountain chains and the seismology of the Canadian Arctic islands. | -60 degrees in the middle of the frozen Arctic Ocean. The key, as with everything done in those extreme conditions, is to take it step by step.
Tessum, now 23, lived this step-by-step routine every second of every day when he skied from the northernmost tip of Canada — Cape Discovery on Ellesmere Island, Nunavut — to the North Pole. The journey, which started in March 2010, lasted 41 days, 18 hours, and 52 minutes. Tessum Weber was just 20 when he made the trek and has since been recognized by Guinness World Records as the youngest person ever to ski from land to the pole. His team was given the distinction of the fastest expedition ever to make this journey. To put the accomplishment into perspective, expeditions of this kind usually estimate about 50 to 55 days to reach the pole. "We only slept for about 15 hours the last week," Tessum recalls.
And although he admits it's definitely a thrill to be able to travel to the North Pole with your son | 230 |
35° 1/18/2021 Good Evening
ClassifiedsCars
Chevrolet Volt among GM cars to feature Powermat wireless charging
Powermat, a wireless charger, is showcased at the CES Unveiled, the official press event of the 2009 Consumer Electronics Show, in Las Vegas. (Jan. 6, 2009) Credit: AP
By BLOOMBERG NEWS Updated August 20, 2013 9:07 AM
General Motors Co., the largest U.S. automaker, will start offering wireless charging for smartphones in some vehicles next year, said Ran Poliakine, chief executive officer of<|fim_middle|>. GM announced in January 2011 a $5 million investment in Powermat to promote the use of wireless-charging in cars. At the time, the automaker said the technology could be in vehicles as soon as mid-2012 and that the Chevrolet Volt plug-in hybrid sedan would be one of the first to offer it.
By BLOOMBERG NEWS
Corvette brings GM buzz, but Silverado brings bucksWhile Chevrolet's jaw-dropping 2014 Corvette Stingray has dominated the automotive headlines this spring - and ... Global auto execs covet Detroit for CEO rolesAs the top lieutenant to Renault SA Chief Executive Officer Carlos Ghosn, Carlos Tavares admits ... Lifelong dreamer returned provocative design to GMThe new Corvette Stingray is the talk of the auto-show circuit, with hundreds of thousands ...
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Forecast: Mostly sunny, somewhat breezy with temps near mid-40s | Powermat Technologies Ltd.
Instead of plugging in cables to replenish battery power, drivers of some 2014 GM models will be able to place mobile devices onto a Powermat surface inside the car to draw electricity. Phones must be capable of recharging via built-in technology, or use a case designed for the purpose.
GM, an investor in Powermat, would be the first carmaker to build the company's technology into its models, Poliakine said. The Detroit-based automaker is competing with Toyota Motor Corp., which included a rival system in the 2013 Avalon, and Chrysler Group LLC, which is offering the feature in some 2013 Dart compact cars. Global shipments of wirelessly charging devices are projected to rise to almost 100 million by 2015 from 5 million units last year, according to IHS.
"The car is a major part of life for everyone with a smartphone," Poliakine said in an interview. "And this is taking care of that part of life."
Phones that can charge without being plugged in contain a coil that receives electricity from a magnetic field when placed on a Powermat-enabled surface. Charging time is comparable to wired connections. Powermat's joint venture with Procter & Gamble Co. has installed its Duracell Powermat chargers in tables at Starbucks Corp. shops in Silicon Valley, Boston and New York's Madison Square Garden.
Several industry groups are promoting different standards: Power Matters Alliance, which includes Powermat, BlackBerry and AT&T Inc.; Wireless Power Consortium, with Nokia Oyj, Samsung Electronics Co. Ltd. and Verizon Wireless; and Alliance for Wireless Power, whose supporters include HTC Corp., Intel Corp. and Qualcomm Inc. Some companies joined multiple associations.
Dan Flores, a spokesman for Detroit-based GM, declined to comment on when Powermat technology would arrive in the company's cars.
"We continue to work with Powermat to bring their technologies to GM products, but for competitive reasons we're not discussing specifics at this time," Flores said. "The technology continues to move forward."
Powermat Technologies has raised more than $80 million from investors, Poliakine said | 447 |
Most entrepreneurs think that creating a successful business AND a happy family is all about 'compromise and pushing yourself'.
It is just this phase.
The problem with this is that you are sacrificing your hapiness in this moment, hoping to 'waork yourself towards' hapiness later on. And you never seem to quit get there.
Bills stack up. Income stalls. You pull everything off, but you are tired. Yelling more than you would like to. And lonely.
If you want to create Financial Harmony, you need to follow a very different path then you are on now.
I started my first business at 25. I was trained as a naval archtitect and I loved managing big innovation projects. I was very good at creating a context in which people could finally work from their heart on projects that involved their best talents. I won grants, created teams, worked internationally. Whenever a business owner asked me to help out with a project my heart resonated with, I ran with it.
My business flourished. I earned a LOT of money, had 4/5 months off for sailing, and I thought I had invented freedom. Until I got pregnant. Very unexpectedly - I thought I was infertile. I was faced with a compromise: doing different kind of work to earn the same, or not being present while my kid grew up. Neither was an option.
I was faced with my big ego. I thought I could do it ALL. I had a magic wand that just created whatever I wanted. Until it didn't.
I wasn't being true to ME. I had been trying to work on some outer circumstance, hoping that someday later on I could create and afford a different context. But in reality, that wasn't the real problem. The real problem was ME.
If you want to create YOUR context, you don't have to work harder outside of something to create it. You don't need more money, more projects, a better house, bigger kids, or whatever! You need to work on YOU.
And although that sounds simple - and felt like I was blaming myself for things I had no choice in - it was the best news I had discovered in years. Because if there is ONE thing I can change, it is ME! And I even knew how to do that.
I have been trained as a first mate on tall ships and I have learned how to find Inner Peace and act from that place in any given circumstance. All I needed to find out was what that meant on shore. And I did. Successfully.
Over the past 10 years I have trained hundreds of high performing teams, ceo's, boards and business owners to master their Inner Game and use that as a basis to create your work in alignment<|fim_middle|> money.
When it comes to money, it is exactly the same as when it comes to truly adding your value. You might have been taught that money needs to be taken care of before you can live from Harmony, Purpose and Joy. We have been trained to think that money will provide all that.
In reality, money is never ever ever the problem. It is merely a RESULT of what's going on inside you on an emotional, mental and spiritual level. Once you get that, and change the Blueprint, the money takes care of itself.
There is nothing more fulfilling to me than seeing the sparkles in someones eyes - and the changes in their physical world - when they get it. When your paradigm shifts and you get from 'knowing what to do' to 'implementing what you know'. When you become aware of the Money Blueprint that has driven you, and change it. When you get what drives you and allow THAT to create money. Succesfully.
There is also a deeper layer to my why. If you want to read more about that, just keep reading to the bottom of this page.
The one thing I have learnt in the process is that there is only one real truth: only YOU can create the context for your full potential to flourish. Stop waiting for life to create it for you. Or money to enable you.
Had you asked me 10 years ago -when my children where just born- I would have said that I was trying to build a context to protect my family before I unleashed my own life. But what I found to be true, is that there is only ONE problem that had to be solved. That was Me. While you can often see clearly what someone else should be doing, we are mostly unaware of our own inner game and how that is influencing our real life and results.
I found that it is really the only thing standing in any ones way. And that actually is GOOD NEWS.
Your Inner Game is EASY if you just learn some basic inner navigation.
I have coached and trained thousands of people and taught them the Inner Game principles.
They have all changed their game to a whole new level.
The minute you change your Inner Game, the Outer Game ALWAYS follows.
Too many people are dying with their music still inside. | with who you really are. How to live and work in harmony. REALLY putting yourself in service of the Mission, instead of 'fighting for survival' and then -maybe- serving. And act from Inner Peace, Harmony and Love instead of Stress, Pressure and Fear of failure - under any given circumstance. Specially where it comes to adding value and earning | 72 |
Paper FASTPASS Distribution. Born at Walt Disney World, July 1999. Died at Walt Disney World, January 2014. Beloved by park guests as a way to limit time waiting in lines. Survived by its offspring—My Disney Experience Website, My Disney Experience App, FastPass+ Kiosks, FastPass+ on MagicBands, FastPass+ on Ticket Cards, and Standby Lines—and by its siblings—FASTPASS at Disneyland Park, FASTPASS at Disney California Adventure, and FASTPASS at international Disney Theme Parks. Services will be in increasingly later one-hour time slots, until completely gone for the day.
FASTPASS fundamentally changed how guests dealt with popular attractions at Disney theme parks. It began in 1999.
Tired of waiting in long lines at theme parks? Walt Disney World says take a number.
Within the next week, a new ride-reservation system will be offered at Kilimanjaro Safaris, Countdown to Extinction and Kali River Rapids at Animal Kingdom.
By the end of the month, FASTPASS could also be available at other popular rides, such as Space Mountain and Splash Mountain in Magic Kingdom or the Rock 'n' Roller Coaster—set to open soon at Disney- MGM Studios, Disney spokesman Dan Higgins said. "And this is something we could roll out at Disney attractions around the world," said Higgins, who added that Disneyland is testing a system.
For now, though, Walt Disney World is the only U.S. theme park using a line-reservation system, which Higgins said should be easy for visitors to use.
Disneyland officially launched its own FASTPASS implementation November 19, 1999, at "it's a small world" Holiday, after having run tests with summer crowds at Space Mountain.
Just slide your regular Park ticket through the turnstiles at participating attractions. Your free Disney's FASTPASS® ticket will be imprinted with a designated ride time. Now you're free to go enjoy the rest of the Park. When your ride time rolls around, come back to the FASTPASS entrance and hop on board with no further wait. What could be easier?
At a high level, that was how it worked. But there was more to it then that. For example, after getting a FASTPASS, a guest had to wait two hours or until the beginning of the FASTPASS return time (whichever was sooner) before being able to get another.
There were all sorts of ways to game the system. Websites disclosed which FASTPASS terminals were off-network, allowing guests to get a FASTPASS elsewhere immediately. Initially, FASTPASS machines would accept old, used-up tickets that had not been used for park admission that day. Early FASTPASS users even reported success using other magnetic stripe cards, such as credit cards. Not surprisingly, most loopholes were soon fixed.
But the biggest loophole lasted almost as long as the original FASTPASS system. Each FASTPASS (except those for stage shows) had a one-hour return window. The start time was strictly enforced. But the end time was not enforced at all. Cast Members would not blink an eye when guests presented FASTPASS tickets whose end times had passed hours ago. Effectively, a FASTPASS for 11:20 a.m. to 12:20 p.m. worked as a FASTPASS for 11:20 a.m. to park closing. Knowledgeable guests learned to collect high-demand FASTPASS tickets in the morning and to use them during periods of peak crowds later in the day.
End time enforcement finally began March 7, 2012.
The biggest benefit of FASTPASS went to "obsessive planners" who took the time to understand the system thoroughly. It also helped regular guests who figured out the basics. But then there were guests who waited in long, slow standby lines while FASTPASS guests raced by them—because they failed to understand that they were also eligible for FASTPASS.
Critics of FASTPASS pointed out that the system did nothing to increase a park's capacity. An attraction with a capacity of a thousand guests per hour still had that capacity. FASTPASS guests would be deprived of detailed queues, while standby guests would move through them too slowly. A prime example was the original Test Track. FASTPASS guests missed all the automotive test displays that set the stage for the ride, while standby guests spent too much time in front of<|fim_middle|> to get a FASTPASS and kill 30 minutes than simply to use the standby line.
Of course, standby wait times are a function of crowd levels and weather. On a hot, busy summer day, Splash Mountain can have a 120-minute wait. On a cold winter day when kids are in school, it's a different story.
Guests at Disney's Hollywood Studios would grab all FASTPASS tickets for Toy Story Midway Mania in the morning, leading to disappointment the rest of the day. Its counterpart at Disney California Adventure never had FASTPASS. There's a debate argument in favor of each approach.
There was another reason why guests would be unable to get a FASTPASS. When a standby line takes less time than a typical FASTPASS line, there was no reason to waste money on staffing FASTPASS or even on the paper tickets.
Although FASTPASS was designed for rides, it later became a way to schedule character visits. It's better than waiting an hour in line. But it's also sad that character interaction is no longer the casual, spontaneous activity it once was.
This Yesterland article was about the defunct paper FASTPASS system at Walt Disney World. The high-tech FastPass+ system replaced it in early 2014, after a transition period in late 2013 with both systems. The separate FASTPASS queues and standby queues have not changed, but making only spontaneous, same-day choices at the attraction and getting paper tickets are things of the past.
FastPass+ allows on-site Walt Disney World guests to reserve attraction times up to 60 days out and off-site guests 30 days out. Off-site guests are shut out from highly popular choices, such as the Seven Dwarfs Mine Train—which routinely shows no availability at midnight Eastern time 30 days out. In-park FastPass+ kiosks provide some additional availability each morning.
To make sure guests have plenty of choices, Disney added FastPass+ to attractions that don't need it, such as Journey Into Imagination With Figment.
Is FastPass+ a wondrous innovation in vacation planning or another assault on the joy of spontaneity?
But FastPass+ is a big improvement over FASTPASS in one regard. Disney's official nomenclature for it does not use ALL CAPS. | each of them.
Imagineers designed each FASTPASS distribution area to go with the theme of the attraction it served. The terminals could resemble crates, trunks, equipment cases, toy boxes, or whatever contributed to the story of the attraction.
To get a FASTPASS or not to get a FASTPASS? That was the question when standby times were reasonable. For repeatable thrill rides, the answer was often to get a FASTPASS for later and to get in the standby line right away.
Because FASTPASS distribution was usually near the attraction entrance, it was easy to make spontaneous choices.
Sometimes, a not-so-repeatable attraction (such as Maelstrom) would offer FASTPASS for 30 minutes later, while having a standby wait time of only ten minutes or so. It would waste more time | 161 |
Regional business news for Yorkshire
Home / Yorkshire / People / People: Jet Aire; Ward Hadaway; DWF; and more
People: Jet Aire; Ward Hadaway; DWF; and more
Miran Rahman
Leeds-based drainage company, Jet Aire Services, has appointed James Angus as health, safety, environment and quality (HSEQ) manager to oversee environmental, safety and quality standards at projects across the UK.
He brings broad experience across health and safety in the manufacturing, power and process industries over the last 12 years, built upon an operational background in engineering and chemical industries, and water treatment plant operations.
Angus has also worked with the New Zealand Health and Safety regulator as an inspector, manager and chief inspector influencing health and safety performance in construction and manufacturing sectors.
He said: "I'm really looking forward to supporting Jet Aire's continued HSE best practice and learning more about the business over the coming months.
"Health and safety is all about the people and our culture, every day on every job, with the overall goal that our teams continue to Work Safe and Go Home Safe.
"I'm passionate about HSE and I am excited to be part of Jet Aire's continued growth, where our HSE capability and performance will form a huge part of our success."
Jet Aire Services managing director, Darren Pavan, said: "We are delighted to welcome James to Jet Aire Services.
"He brings outstanding expertise in the sectors that we serve. Drainage is an industry which demands the highest standards in health, safety, environment and quality, not only as a duty of care for employees, but also to demonstrate your credentials as a contractor.
"The nature of our work often involves a high level of risk and our ability to manage that risk is fundamental to our ability to secure business.
"James will play a vital role in ensuring Jet Aire continue to maintain best practice throughout our programme of work in drainage maintenance."
Flora Mewies
Law firm Ward Hadaway, which has a base in Leeds, made a series of promotions in its legal teams as of 1 November.
Its promotions include a larger number of changes than normal, as the firm introduced two new roles to the legal teams.
Anna Brown, head of people, said: "This year we have introduced managing associate and director roles into our legal structure.
"This provides a more flexible career trajectory and wider opportunity for development suited to individual goals and aspirations."
The firm announced it has promoted ten people to managing associate, 13 to director, and two to associate.
Also included within this year's changes are two promotions to partner. Both have had an exceptional journey at Ward Hadaway, where they began as trainees nine years ago.
Flora Mewies is an employment lawyer in Leeds. She has also built from almost a standing start a successful immigration practice at the firm which now consists of a team of four highly regarded specialists.
Nick Gholkar is a property lawyer working in the Built Environment sector. He leads on a significant number of complex transactions for key clients of the firm and has a particular specialism in development projects in both the public and private sector.
Martin Hulls, managing partner, said; "I am delighted to be able to announce this range of promotions at the firm. Well done to all those involved.
"It is particularly rewarding to see talent that we nurtured so recently as trainees working their way to join the partnership. Both Flora and Nick have demonstrated that hard work, a positive approach, and innovation bears fruit.
"In this year's exceptional circumstances, it would be easy to simply batten down the hatches. However we are determined to keep doing the things we believe in to help develop our people and our firm, and in so doing retaining and attracting the best talent."
Global legal business DWF has appointed Allison Page as executive partner in Leeds, effective from 1 January 2021.
She will join DWF following 15 years with DLA Piper in Leeds, where she most recently held the role of office managing partner.
Page will work closely with Andrew Flounders who has led the Leeds team since 2018 and will continue to play a key senior role in the Real Estate Practice Group.
Page said: "The Leeds office is already well established but we have a plan to continue to grow across all service areas.
"It is an exciting time to be joining as I firmly believe DWF's strong culture and values and its focus on personal development, diversity and inclusion and making a difference in the local community really resonate with people.
"It is an enormous privilege to lead the Leeds office and be given the opportunity to build on the very good work of Andrew."
Paul Rimmer, DWF's regional managing partner for UK and Ireland, said: "We are delighted Allison is joining us – not only is Allison a<|fim_middle|>ward team – he brings vast experience to the table.
"Onward is determined to achieve its objectives given the commitment and talent of the senior management team of which Paul is now a part."
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The UKWest MidlandsEast MidlandsNorth WestYorkshire Close | first rate projects lawyer with significant management experience but she is completely aligned with our values and vision and brimming with energy and ideas.
"Allison joins a fantastic office which has been very well led by Andrew. There remain plenty of opportunities for growth in Leeds and I'm sure the office will provide a very warm welcome to Allison and enjoy her inclusive and progressive leadership style."
Flounders, DWF's executive partner in Leeds, said: "Allison will find it's a great pleasure and privilege to lead such a talented and enthusiastic team.
"Allison is recognised throughout the Leeds business community not only for her specialist skills and experience but also for being a great communicator and a passionate leader who is also focused on the success of the region.
"I have no doubt that her joining us is a great step forwards for our office."
West Yorkshire-based commercial property company Onward Holdings has appointed a new warehouse operations manager to help meet the company's growth strategy, as the business seeks to expand its portfolio of sites.
Paul Williamson, who joins Onward Holdings in the position left vacant following the promotion of John Storey to chief executive officer, brings a wealth of management experience in the logistics sector to the family-run company.
His role includes responsibility for the day-to-day operation of the company's sites.
Williamson: "I bring extensive experience across many areas and aim to apply this expertise and my skill sets to the objective of lifting the company's presence in its target markets.
"This will be against the backdrops of Covid-19 and the impact of Brexit, which provides opportunities for businesses such as Onward, as stockpiling will increase due to the uncertainty of what lies ahead."
Despite the demands of the public health crisis and the UK's imminent departure from the European Union, Onward Holdings is exploring opportunities for expansion.
The company is on the hunt for more commercial sites in Yorkshire that would benefit from development or redevelopment to accommodate the growing demand for storage, distribution and fulfilment hubs.
Director, Neil Storey, said: "We welcome Paul to the On | 411 |
Community-based<|fim_middle|> racism and inequity of services experienced by our families, children and communities; and to organize our communities for collective action resulting in social change to obtain self-determination, wellness, justice and prosperity.
Focus Area: Policy analysis and advocacy
Community Alliance of Tenants
As Oregon's only grassroots, tenant-controlled, tenant-rights organization, the Community Alliance of Tenants (CAT) develops the leadership of low-income tenants to hold landlords and public officials accountable for unjust housing policies and practices. As rent continues to skyrocket, CAT has called for a Renter's State of Emergency, campaigning for inclusionary zoning laws and an end to no-cause evictions and unreasonable rent increases.
Leadership: European American/White
Focus Area: Housing & Homelessness
Hacienda CDC
Hacienda CDC is a Latino Community Development Corporation that strengthens families by providing affordable housing, homeownership support, economic advancement and educational opportunities.
Leadership: Latino/Latina
Focus Area: Housing / Economic Development
Hispanic Metropolitan Chamber of Commerce
The Hispanic Metropolitan Chamber works with all members of the community to increase the economic advancement of Latinos in Oregon and SW Washington. It achieves this through business technical assistance, leadership development, and educational asset building. Its bilingual/bicultural, business development coordinators provide start-ups and emerging businesses with the technical assistance necessary to support their financial independence. Its leadership program develops Latino leaders in our community's private, public, and nonprofit sector, and Its educational programs support students access and pay for college. It manage the largest scholarship program for Latino students in Oregon.
Focus Area: Business development, Leadership Development, Higher Education Support
Immigrant and Refugee Community
IRCO's mission is to promote the integration of refugees, immigrants and the community at large into a self-sufficient, healthy and inclusive multi-ethnic society.
Focus Area: Education, Community Services
Instituto In Xocitl In Cuicatl Art and Culture
Instituto In Xocitl In Cuicatl Art and Culture offers on-going opportunities to at-risk youth coming out of treatment or detention. Opportunities to heal through various art and cultural practices that give youth and their families a platform to grow, express themselves, and share sacred space with a broader community. Currently it is working on bringing those art and cultural practices to youth inside the local juvenile detention center to reach those most vulnerable and develop skills necessary for success.
Focus Area: Youth and Education
Latino Network
It is a Latino-led education organization, grounded in culturally-specific practices and services, that lifts up youth and families to reach their full potential. It believes in the self-determination of the Latino community to solve our own problems. Its programs support the development of youth and adults to be agents of change in the community.
Lower Colombia Hispanic Council
The Lower Columbia Hispanic Council is a community based organization that provides specific services to the Latinx community in Clatsop, Columbia, and Tillamook counties. As the only Latinx focused and led organization on the North Coast, LCHC works to assist their community in issues around immigration, racism, and civic engagement.
Momentum Alliance
Momentum Alliance is a youth-led organization that inspires young people to realize their individual and collective power to create social change. Momentum Alliance was among the groups that successfully advocated for tuition equity for undocumented students and they continue to fight prejudice and build a regional network of young leaders working for social justice.
Focus Area: Gender Equity, Immigrant Rights, Youth and Education
Native American Youth and Family Center
Leadership: Native American
Focus Area: Education / Career Development
Northwest Workers' Justice Project
The Northwest Workers' Justice Project believes that all workers share a fundamental human right to live and labor with dignity, safety, and hope. NWJP provides legal and strategic support to low-wage workers and their organizations to protect the right to organize, secure the rights of contingent workers and immigrants, and mitigate the negative effects of free trade policies.
Oregon Community Health Workers Association
ORCHWA is the new statewide association for community health workers organizing a unified voice to empower marginalized communities and advocate for solutions to health disparities. Community Health Workers are the frontline public health workers and serve as the vital link between health/social services and the community to improve the quality and cultural competence of care.
Focus Area: Workers' rights
Oregon DREAMers
Oregon DREAMers is a grassroots group lead by undocumented immigrant and refugee youth. The DREAMers work with community allies, including other youth, teachers, administrators and elected officials to win greater access to higher education through passage of the DREAM Act, comprehensive immigration reform and tuition equity. By providing concrete leadership and organizing opportunities to undocumented youth, Oregon DREAMers is empowering and connecting youth who have been afraid and living in the shadows for most of their lives.
Focus Area: Immigrant Rights
Portland African American Leadership Forum
The Portland African American Leadership Forum leverages the power of our community's combined resources to advance the vision of a connected thriving, resilient Black Community.
Leadership: African/African, American/Black Leadership
Portland Community Reinvestment Initiatives (PCRi)
For over 20 years, Portland Community Reinvestment Initiatives has reinvested in Portland's neighborhoods, preserved their diversity and provided tools to help low-income Portland families and individuals achieve stability and self-sufficiency. From its original task of helping people who were unknowingly swindled out of their homes, PCRI has come a long way. Still, the challenges are constant—as is its presence as an anchor of stable, diverse and livable Portland neighborhoods.
Focus Area: Affordable housing
Portland Jobs with Justice
Portland Jobs with Justice is a coalition of 90 labor, community, student, and faith-based groups who are united to defend the rights of all working people and advance social and economic justice for all members of the community. Portland Jobs with Justice engages unlikely allies to shift the balance of power so that everyone can have a decent standard of living, job security, and the right to organize
Leadership: European, American/White
Portland Leadership Foundation
Focus Area: Leadership
Portland Parent Union
Race and income are key indicators of student achievement. PPS Parent Union is organizing low income families and families of color to advocate for policy changes in the Portland Public Schools, specifically focusing on persistent gaps in achievement and opportunity between white students and students of color.
Focus Area: Youth & Education
R.E.A.P.
REAP'S Mission: To proactively ignite, elevate and engage the next wave of leaders for the future now.
Self Enhancement Inc
Focus Area: Education and Youth Leadership
Urban League of Portland
Established in 1945, the Urban League of Portland is one of the oldest African American service, civil rights and advocacy organizations in the area. The Urban League of Portland's mission is to empower African Americans and others to achieve equality in education, employment, health, economic security and quality of life. Its programs include a distinctive blend of direct services, organizing, outreach, and advocacy. It offers workforce services, community health services, summer youth programming, senior services, meaningful civic engagement opportunities, and powerful advocacy.
Urban League of Portland Young Professionals
The Urban League of Portland Young Professionals (ULPDXYP) are a volunteer auxiliary of the Urban League of Portland that encourages young professionals ages 21-40 to empower their communities and change lives through the Urban League Movement. It hosts monthly professional and personal development programming for its members and connect them to the Urban League's work in advocacy, civic engagement and workforce development. Its goal is to build a pipeline of young leaders who consider Portland and the Urban League as key contributors to their personal development and professional success.
Voz Workers' Rights Education Project
Voz empowers day laborers to gain control over their working conditions and to exercise their power to address the social and economic injustices that immigrant workers face. Voz also educates the community about the complex forces that have pushed immigrants to come to the U.S. and the need to overcome anti-immigrant sentiment.
Welcome Home Coalition
The Welcome Home Coalition (WHC) believes in a community that invests in safe, stable, affordable homes for everyone. Since August of 2014, WHC has been dedicated to building a movement to identify a solution to the affordable housing crisis with new, dedicated revenue to adequately fund critical housing programs, affordable housing development, and homeownership opportunities. European
Leadership: American/White | Organizations
African Youth Community Organization
African Youth Community Organization (AYCO) works to empower immigrants and refugees from African and other diaspora countries. AYCO is dedicated to developing leaders and advocates in the immigrant and refugee community by utilizing education, leadership development, and civic engagement to build greater community engagement and involvement in social and political institutions.
Leadership: Multi-Racial
Focus Area: Disability Rights, Immigrant Rights
Asian Pacific American Network of Oregon
Leadership: Asian / Pacific Islanders
Black Parent Initiative
Assists parents and caregivers to become and or enhance their involvement in the lives of their children. Find out about the ways in which they affect the lives of the parents of Black children in Multnomah County. Parent education is for everyone!
Leadership: African/African, American/Black
Focus Area: Economic Justice, Workers' Rights
Black United Fund
To assist in the social and economic development of Oregon's low-income communities and to contribute to a broader understanding of ethnic and culturally diverse groups.
Leadership: African/African American/Black
Focus Area: Education
Coalition of Communities of Color
The Coalition of Communities of Color (CCC) addresses the socioeconomic disparities, institutional | 244 |
My husband and I have this tradition of having high tea on our wedding anniversary. We like high tea, and we have tried many places in Sydney. From our experience, most well-known high tea places are over-rated or not worth what you're playing for. We rate our high tea based on the quality of two things; tea and food! Having a nice view is pleasant, but nice view is not hard to come by when you're in Australia! Just have a picnic in your local National Park instead if that's what you're into.
In our opinion, The Tea Room in the QVB is still our favourite; it has the best scones, very nice and delicious selection of tea, beautiful setting and decent pricing. We highly recommend it. You do have to pay extra for the 'Tea for Connoisseurs' option, or you'll get average tea bags. At least you have the option for better tea, which a lot of other places just don't offer.
The places that offer 'groupons' are cheaper but nothing special; they all have generic Twining's tea bags and some more fancy places have T2 tea bags. Whoopty doo, like we don't already have too many T2 containers at home!
The worst place is probably Bygone Beauty at Leura with their not so traditional tea, mini 'not-cupcake' scones, overpriced menu and crappy crowded setting! The most overpriced would be the Hydro Majestic! Ok, it is probably the most beautiful and scenic tea room you'll ever find in Australia, but $65 for some less than average high tea just cannot be justified!
Anyway, there are just too many places that offer high tea these days in Sydney. Keep in mind, I'm not rating the tea houses for their service and what not, that's a whole different story. We have also been to Adore Tea in Canberra, they have a very extensive tea selection to satisfy every a tea junkie. I would say they have the best tea, but we have not tried their high tea. Their regular food is also very nice, so I think it'd be worth going back one day.
Ok, I've talked too much about Australian high tea, I know you've been waiting for the Dutch high tea experience, and you're finally here! :P Sorry, I'm such a troll!
So it was only the 2nd weekend since we arrived in the Netherlands, our only source of info for decision making was Google and the web sites of the places. I pretty much picked 2 places that looked really pretty from their website and had decent reviews on Google; one was the Gartine cafe and the other was The Duchess hotel, both located in central Amsterdam. The Duchess did not specifically mention high tea on their menu, so we went with Gartine and were pleasantly surprised.
So, first thing is that this is not traditional English high tea; so no scones. We ordered the 'High Tea Large' set, which consisted of 3 courses; a soup starter, a pastries and sandwiches main, and a sweets/cakes dessert, and a pot of tea of course.
The soup<|fim_middle|> floral wall feature and chandelier - felt like the only source of light in this place. Lol!
The front of the Cafe, looks just as cute on the outside.
So our overall experience with Gartine was extremely positive! So the next time anyone comes and visits me, let's go have cake there! :D It's a small place, so seats are limited and booking for high tea is essential.
This post is getting too long, so I'm putting the next leg of our adventure in the next post. | was a creamy cauliflower and potato soup with truffle oil. Yes, the soup photo is missing, because I conveniently forgot to charge the camera the night before, and the lovely staff let me charge it at their counter so I could capture the rest for you guys.
The main was quiches with ingredients from the garden (zucchini), sourdough sandwiches with aged Amsterdam cheese, onion and green chutney, and choux pastries filled with a smoked salmon cream.
The desserts were oatmeal and cranberry biscuits, vanilla macarons, and their selection of cakes of the day.
Cakes left to right: Amaretto cheesecake, lemon meringue, smooth chocolate cake and coconut yoghurt cake!
The ingredients are supposed to be freshly picked from their garden, I'm not sure if I could actually taste the freshness, but they were more than delicious! So nice that Graham willingly ate the cauliflower and zucchini in the dishes! The place smelled so good whenever they prepare a dish, and I had my eyes on the cakes long before they came out. There was more than enough food for 2 and we doggie-bagged the left over cakes! I think the cakes are their specialty, they were fantastic! So rich in flavour but not overpowering in any aspect, novel combination and great texture. I'll go there again just for the cakes!
Ok, the tea selection was decent, they came in nice silk bags. They were nice but not the best we've had, and quality and quantify of food made up for that tiny downfall. It is definitely the most delicious high tea we have ever had!
Now onto the setting, because I really liked how cute it looked from their website. The place was smaller than I expected but I guess that's traditional Amsterdam houses. It was clean and tasteful. The staff were very pleasant and were prompt to change the used dishes between courses. The plates were all traditional Delftware, but nothing matched, not even our knives and forks! Lol, it was very entertaining for us to play the matching game while we waited.
A bucket of fresh oranges next to my chair under the counter?! Why not.
Very pretty | 442 |
La gare de Viroflay-Rive-Gauche est une gare ferroviaire française des lignes de Paris-Montparnasse à Brest et des Invalides à Versailles-Rive-Gauche, située sur le territoire de la commune de Viroflay, dans le département des Yvelines, en région Île-de-France.
Cette gare de la Société nationale des chemins de fer français (SNCF) est desservie par les trains de la ligne N du Transilien (réseau de Paris-Montparnasse) et par les trains de la ligne C du RER. En outre, elle est en correspondance avec la ligne 6 du tramway d'Île-de-France.
Situation ferroviaire
Gare de bifurcation, elle est située au point kilométrique (PK) 13,880 de la ligne de Paris-Montparnasse à Brest, entre les gares de Chaville-Rive-Gauche et de Versailles-Chantiers et au PK 14,350 de la ligne de Versailles-Rive-Gauche aux Invalides, entre les gares de Porchefontaine et de Chaville - Véliz<|fim_middle|>. Le temps de trajet est d'environ depuis Rambouillet, depuis Mantes-la-Jolie, depuis Plaisir - Grignon et de à depuis Paris-Montparnasse selon les dessertes des trains ;
la ligne C du RER, à raison d'un train toutes les pour chaque branche, sauf aux heures de pointe où la fréquence est d'un train toutes les . Le temps de trajet est d'environ depuis Versailles-Chantiers (par Massy, Juvisy, Choisy-le-Roi et Paris), depuis Versailles-Château, depuis Saint-Quentin-en-Yvelines et depuis Saint-Martin-d'Étampes. La gare de Viroflay-Rive-Gauche est la gare de bifurcation des branches occidentales de Saint-Quentin-en-Yvelines (branche C7) et Versailles-Château-Rive-Gauche (branche C5) ;
la ligne 6 du tramway d'Île-de-France, à raison d'une rame toutes les 5 à 10 minutes en journée, jusqu'à 4 minutes aux heures de pointe. Avant 7 h 00 et après 22 h 00, il est possible d'attendre jusqu'à 15 minutes. La ligne est desservie par des rames Translohr. Le temps de trajet est approximativement de deux minutes en direction du terminus de Viroflay-Rive-Droite et de 38 minutes jusqu'au terminus de Châtillon - Montrouge.
Intermodalité
Tramway
Depuis le , la gare est en correspondance avec la ligne de tramway T6, la reliant à la station de métro Châtillon - Montrouge (ligne 13 du métro de Paris), en desservant le centre-ville de Vélizy-Villacoublay, le centre commercial Vélizy 2, l'hôpital Antoine-Béclère et le centre de Châtillon.
Intermodalité
La gare est desservie par les lignes 6 et 7 du réseau de bus Phébus.
Stationnement
Un parking pour les véhicules et les vélos y est aménagé.
Plan des voies
La gare se trouve au cœur d'un nœud ferroviaire qui double celui de Versailles-Chantiers, assurant ainsi les mêmes dessertes à l'exception de celle de la ligne U du Transilien (vers La Défense).
Galerie de photographies
Notes et références
Voir aussi
Articles connexes
Gare de Viroflay-Rive-Droite
Liste de gares en France
Liste des gares du RER d'Île-de-France
Liste des gares du réseau Transilien
Ligne de Paris-Montparnasse à Brest
Ligne des Invalides à Versailles-Rive-Gauche
Lien externe
Gare dans les Yvelines
Ligne de Paris-Montparnasse à Brest
Gare en Île-de-France en correspondance avec une station de tramway
Gare | y.
En venant de Paris, elle est la première gare des Yvelines du réseau Transilien de Paris-Montparnasse.
Son altitude est de .
Histoire
Elle est mise en service le avec l'ouverture de la voie entre la gare de Paris-Montparnasse et la gare de Versailles-Rive-Gauche (renommée Versailles-Château-Rive-Gauche en ).
De 2020 à 2015, selon les estimations de la SNCF, la fréquentation annuelle de la gare figure dans le tableau ci-dessous.
Service des voyageurs
Accueil
La gare dispose d'un bâtiment voyageurs avec guichet, adapté pour les personnes handicapées, d'automates Transilien, d'automates Grandes lignes, du système d'information sur les circulations des trains en temps réel, du dispositif de contrôle des billets élargi et de boucles magnétiques pour personnes malentendantes. Une boutique de presse Relay est installé en gare.
Elle est équipée de trois quais centraux qu'encadrent six voies. Chacune est affectée à une ou plusieurs destinations en fonction des horaires. Le changement de quai se fait par une passerelle, située à côté du bâtiment voyageurs, qui est accessible par escaliers fixes ou mécaniques.
Dessertes
La gare est desservie par :
la ligne N du Transilien (Paris - Rambouillet / Paris - Plaisir - Mantes-la-Jolie), à raison d'un train toutes les , sauf aux heures de pointe où la fréquence est de huit trains par heure | 377 |
It's unbelievable but almost a year has passed since the last world championship in Japan has ended and the world championship in Montreal, Canada, is just around the corner! This year, the schedule is a little unusual: The set-up days are Saturday and Sunday and the regular tournament doesn't start until Monday.
Like last year the arrival<|fim_middle|> hall will open at 8 AM and of course we want to be among the first to enter. We hope to record some images to train our vision and adapt our walking algorithm to the local turf right away. Much has changed since the last world championship, both when it comes to the software and hardware. The level of motivation in the team is higher than it has been for a long time and thus we're all looking very much forward to the beginning of RoboCup 2018 tomorrow! | of the team members happened in chunks: Jessica has already arrived yesterday and used the day to explore the city. Everyone else traveled today: Maike's flight from Stockholm left at 06:05, Judith, Jasper, Marc, Timon, Niklas and Daniel left Hamburg around 10:10. They re-united in Paris and started the last (and biggest) part of the journey from Paris to Montreal with significant delay, but together. The flight was mostly used to work a little on the software, meet new teams and catch up with some sleep. The airport in Montreal was then firmly in the hands of the RoboCup community: Flights from Paris, Amsterdam and Frankfurt arrived nearly simultaneously and brought almost all European RoboCup teams to Canada at the same time.
We then made the first experience with the famous Canadian kindness during the trip from the airport to our accommodation. People here are incredible accommodating and you don't even need to ask for help, you'll frequently get kind offers of help. Then again everything is very coordinated here: The shuttle buses from the airport had an "instructor" who decided how many people could board the bus. This amount was strictly determined by the amount of seats and luggage space available. What a difference compared to Japan where people got payed to push as many people as possible into one train!
We have rented a small apartment a little outside the city center this year. This makes the travel to the competition venue a little longer. However, it also means we are all staying together, we can have breakfast whenever we want, we can cook dinner together (if we have the time) – and of course work as long and as much at night as we want! The first arrival at our apartment was surprisingly unpleasant: The code for the front door was wrong and of course none of us had a Canadian SIM card or data roaming available. Luckily the landlord randomly came by after a little while and the short drama had a quick and happy ending. The rest of the evening was used for a short grocery shopping trip and a quick dinner. Now most team members are already asleep, which is no wonder since it's already 5 AM in Germany.
Tomorrow morning the competition | 449 |
Sweco Architects just transformed an old ferry port in Denmark into a fantastic water recreation spot. To keep the Water Sports Center Halsskov green, the architects recycled "as many materials as possible from the former port, either directly or through upcycling." Perhaps the most distinctive element of the sports center is a jumping tower comprised of three stacked, bright yellow shipping containers.
People can jump<|fim_middle|>arks and harbor fittings. They said in their design statement that benches and boundaries "consist of the former bulwarks from the ferry port." The Water Sports Center Halsskov was completed in 2017.
An old ferry port in Denmark just got a facelift - Sweco Architects transformed the port into a fantastic water recreation spot. Their Water Sports Center Halsskov is an architectural invention, in their words, to give people access to the water. To keep it green, the architect's recycled "as many materials as possible from the former port, either directly or through upcycling." Perhaps the most distinctive element of the sports center is a jumping tower comprised of three stacked, bright yellow shipping containers.
The stacked containers are rotated to create interactions between shadows and activity, according to Sweco Architects.
People can jump from this shipping container tower into the water.
People can jump from heights of around 13, 26, and 36 feet.
There are beach volleyball courts at the Water Sports Center Halsskov.
The project "emphasizes the special raw character of the site," according to Sweco Architects.
Facility buildings include changing rooms and bathrooms.
Heat-treated wood covers the shipping container facility buildings.
Sweco Architects just transformed an old ferry port in Denmark into a fantastic water recreation spot. To keep the Water Sports Center Halsskov green, the architects recycled "as many materials as possible from the former port, either directly or through upcycling." Perhaps the most distinctive element of the sports center is a jumping tower comprised of three stacked, bright yellow shipping containers.
Sweco Architects transformed an old ferry port into the Water Sports Center Halsskov in Denmark. | off a shipping container diving tower into the waves at the Water Sports Center Halsskov at heights of around 13, 26, and 36 feet. The stacked containers are rotated "to generate an interesting interaction between activity, shadows, and volumes," according to Sweco Architects.
The shipping container diving tower isn't the only fun visitors can have at the Water Sports Center Halsskov. People don't have to jump in to get wet; they can also access the water via ramps, ladders, and floating platforms. There are three beach volleyball courts, trampolines, an outdoor swimming pool, and a climbing wall, according to the firm. Facility buildings, also comprised of containers, offer bathrooms and changing rooms, and they're covered with heat-treated wood from sustainable forests for easy maintenance. LED lighting is present throughout the site to minimize energy consumption.
The project "emphasizes the special raw character of the site," according to Sweco Architects. They exposed concrete piers and preserved pieces of bulw | 208 |
Retail powerhouse still growing after 50 years
Community Featured News Old - DO NOT USE - The Coast News Rancho Santa Fe
by Wehtahnah Tucker April 12, 2011 July 21, 2015 0125
ENCINITAS —The house that Don built is celebrating 50 years of family. Hansen's is known the world over as a premiere<|fim_middle|> Hansen's surfboard shaping business really began to grow. The reputation of his boards reached beyond the boarders of Encinitas into the international surfing community.
By the mid-1960's, Hansen Surfboards was shipping surfboards to many parts of the world. Many of Hansen's original shapes are still available today at Hansen's. In fact, Hansen's now stocks approximately 700 surfboards, both Hansen surfboards and also surfboards by other manufacturers including Lost, Channel Islands/Al Merrick, Simon Anderson, Byrne, Chemistry, SurfTech, Aviso and S-Core. It's a cornucopia of boards in every shape and size for any surfer at all levels.
Within the following decade, Hansen's transitioned into a retail business and quickly became one of the most popular and well-known surf shops in Southern California. With only one location in downtown Encinitas, the Hansen family — including longtime employees — is on track to celebrate another 50 years of business.
"We're a surf, beach lifestyle company," according to Hansen. "With 16,000 square feet of retail space, Hansen's has the unique ability to offer something for everyone in the family, both young and old. We've got apparel, beach accessories, surf gear, snow gear, skate gear and even home décor and books. In fact, it is now the largest surf shop in San Diego County.
While the online business brings in good sales, it's the face to face contact and relationships with loyal, local customers that drives Hansen's success. "We're not just selling products," Hansen said. "It's the experience that you get when you walk in these doors."
Engaging customers and being a core part of the community are fundamental to the success of Hansen's.
"We've got the 'Goods for Grades' program where we really get to reward kids for doing well in school," Hansen said. "We thrive on giving back to the community that's given us so much." Groms and wahinis frequently bring in their report cards for discounts on the goods in the shop.
Hansen's is a destination rather than a surf shop. After 50 years, the family has built its reputation on hard work and dedication to the community.
"Why would we ever leave this place?" Hansen asked as he looked over the Pacific Ocean. "We've got the best of all worlds right here and we're looking forward to being here for another 50 years."
Wehtahnah Tucker | retailer, but to the residents of Encinitas and the visitors who flock to the store year after year, the shop is built on consistently good customer service.
"We take a different focus than a lot of businesses," said Josh Hansen, one of the three children who work for the business. "When you come in here (to Hansen's) it's like coming to see family," he said after working at the store for a decade.
The gleaming building at the southern end of downtown has its roots in humble beginnings. Hansen Surfboards was established in 1961 on Oahu's famous North Shore by Don Hansen. Just a year later, he moved the shop from the small shack on Kawela Bay to a larger building overlooking Cardiff Reef.
It was here that | 156 |
Please accept my formal attempt to resolve a complaint with regard to the $10/month price increase, as announced on February 15, 2018.
"If you have signed up for the promotional plan, you will be able to keep it after the promo period, as long as you are an active customer. This means that, as long as you are an active customer on this plan, your plan price will remain at $120, even after your initial 90 days. No surprises. "
I look forward to resolving this issue. Please contact me directly by phone or emial to resolve this issue. If I do not hear back within 24 hours, I will pursue the resolution of this complaint via the CCTS.
I agree, let's make it clear we will not be bullied into switching platforms. If they don't back pedal we should leave.
Re: $40/4GB Plan - getting $10/month price INCREASE!
This is a message for a Public Mobile moderator or representative. In order to comply with the requirements for submitting a complaint to CCTS. I am advising you that I would like to keep my current plan with 12GB / 90 days at $120 minus My Rewards on one cellphone in my household that I have had since the Fall 2016 Promo.
Please contact me directly to discuss the matter further. If you do not respond within a 24 hr time frame I will assume that you reject all communication on this topic and I will proceed to file a complaint to the CCTS.
Good idea to share the other options! Also I know there is a way to sigh all of us (severed by a price increase) to some corporate plans. With the amount of people coming to certain provider we can get very good price. The more people coming the better discount.
This is a message for a Public Mobile moderator or representative. In order to comply with the requirements for submitting a complaint to CCTS. I am advising you that I would like to keep my current plan with 12GB / 90 days at $120 minus My Rewards that I have had since the Fall 2016 Promo.
Public Mobile, please contact me regarding this directly. I am writing here as I do not have any other way to contact you. If I do not receive a response in a reasonable amount of time I will be filing a CCTS complaint.
I am upset about the $30 price increase on my 3 month plan.
When I signed up, the text of the advertisement said that as long as I remained an active customer I maintained an active plan I understand prices going up but this is false advertising.
The text you sent "Our sister brand, Koodo, has a way for you to keep your $40 price point." is misleading / deceptive because all of your customers will have 1 year loyalty ($39), and most will have auto pay ($37) and with referrals one of my accounts is at $25.
So no matter what it's a price increase, and to imply otherwise is deceptive. Also 12 GB over the course of 3 months, is not as flexible as 4GB over 1 month.
This is a message for a Public Mobile moderator or representative. In order<|fim_middle|> are in the right here and we should win eventually. It will take time. Public Mobile wants you to worry that you're going to lose out on their offer. Don't take it unless you feel that it is a good deal for you.
3. Unlimited local calling from 5pm to 8am, Monday through Thursday, and 5pm Friday to 8am Monday. For Canada-wide plan, unlimited Canada-wide calling from 5pm to 8am, Monday through Thursday, and 5pm Friday to 8am Monday.
Additional airtime charges happen when you use more minutes than you have in your plan. Each additional minute costs $0.50. To save on future bills, you may need to change your plan or get an add-on. | to comply with the requirements for submitting a complaint to CCTS. I am advising you that I would like to keep my current plan with 12GB / 90 days at $120 minus My Rewards on one cellphones in my household that I have had since the Fall 2016 Promo.
Please contact me directly to discuss the matter further.
@v3nice Thanks! for some reason i can't even see that offer on the page.
Wow those are some T&C, i literally bought a new phone last week i dont' want another.
It seems like people had success in Kiosk for getting without tab, and ended up with $200 credit. If you decided to jump ship, please make sure to read the T&C on their so called **unlimited**.
If you read the fine print, it's unlimitedly available at all times.
I haven't heard anything yet, but I'm sure that the mods are completely overwhelmed. I ticked email me when there is a reply to this thread. My phone is literally blowing up. I'm getting an email or two every second.
It will take time for the investigation. The CRTC is likely overwhelmed too. Don't listen to the shills. They promised us that we could keep this plan at this price as long as we were customers in good standing. They can't point to the user agreement now and say that they have the right to increase the price. They should have have said that this offer could expire at any time down the road if they didn't intend to honour the price as long as we were customers. The users | 330 |
Alison White from Barley will be at the event with her upcycled designs.
Fixers from the Royston Repair Café will be joining counterparts from far and wide in Cambridge this weekend for a world record attempt.
Environmental organisations Cambridge Carbon Footprint and Transition Cambridge are hosting the gathering of hundreds of people with broken items in celebration of the massive growth of a global repair movement – to try and achieve the biggest repair café in the world.
Repairers aim to better the 150 fixes that took place in Vauréal in<|fim_middle|>-loved possession they thought would never work again is brought back to life.
As well as fixers getting to work, artists will be showcasing their upcycled Christmas designs at the event.
They include Barley textile artist Alison White, who will be selling a range of haberdasher trees made from old zips and buttons alongside strings of sheep which are interspersed with beads upcycled from necklaces bought from charity shops.
Also on offer are her 'worry-sharing sheep', with bags made from vintage fabrics.
On the day there will also be talks, and Cambridge FoodCycle will be serving hundreds of meals made from surplus food.
The world record attempt runs from 10am to 6pm at the Wesley Methodist Church off Christ's Pieces on Saturday.
Royston residents can book in their broken items at circularcambridge.org/repair-booking-sheet. | France in 2013.
Nicole Barton, one of the organisers of the record attempt, said: "The repair café movement has really taken off in and around Cambridge, as it has in other parts of the world.
"I think their immense popularity is an indication of how sick we are getting of our wasteful consumerist society.
Royston Repair Café members are taking part in a world record attempt in Cambridge this weekend.
"People are delighted and sometimes even moved when a much | 98 |
We should all be cooking and eating a lot<|fim_middle|> the pan. | more nettles. They are delicious, abundant and absolutely free. If this isn't enough, nettles are also exceptionally good for you. They make a great alternative to our more familiar cultivated greens, such as spinach or kale, and can be cooked in very similar ways. I love them simply wilted, seasoned and served with butter and good-quality olive oil. February through to late April is the time to bag them. It's the fresh, young growth you're after. Use gloved hands to pick only the tips – the first four or six leaves on each plant; this is the most tender succulent part. Here, I'm piling them on toasted sourdough and serving them with fried line-caught pollack, wild garlic and a poached egg. It makes for the perfect late-spring supper.
Wash the nettles in plenty of fresh water. Remove any tougher lower stalks; if it's just the crown, then that's fine. Drop the nettles into a saucepan of salted, boiling water and simmer for 2–3 minutes, until tender, then drain really well. Return the nettles to the pan, add half the butter and 1 tablespoon of the olive oil. Season well with salt and pepper, turn together and then cover and keep warm.
Set a large, non-stick frying pan over a medium to high heat. Season the fish all over with salt and pepper. Heat the remaining butter and oil in the pan and when hot, add the fish, skin-side down. Cook for 3–5 minutes, depending on its thickness, then turn the fillets over and fry for 1–2 minutes until the flakes separate when pressed lightly with a fork; this indicates the fish is cooked. Ribbon (or thickly shred) the wild garlic and add it to the pan. Spoon the wild garlic through the buttery fish juices; cover and keep warm while you cook the eggs.
Bring a medium-sized, high-sided saucepan of water to the boil. Twirl a spoon in the water to make a mini whirlpool. Crack the eggs in, turn the heat down to minimum and cook for 3–4 minutes. Remove the eggs carefully with a slotted spoon. Keep warm.
Remember: the fresher the eggs – the better they poach.
To serve, place a piece of toast on each plate. Divide the warm, buttery nettles between the plates, top with a piece of fish, followed by a poached egg, then finally spoon over the wild garlic and any buttery juices from | 521 |
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A few years later his vision became | 122 |
I'm driven by a fundamental belief that bringing groups of people together and learning to understand new languages is the best way to make progress towards better outcomes for individuals, society and the world. Many of the worst situations in human societies arise when different groups don't<|fim_middle|> Nor Cowardly. | understand each other and lack the translation skills required to bridge the divide.
In Parliament I had the chance to observe different political tribes grope towards similar goals while tearing each other to shreds – something that also increasingly characterises more general political debate, especially online.
Working as a consultant to private equity investors, I saw how the world of politics and regulation – a world full of opaque language and shades of meaning – collided, sometimes with brutal consequences, against the binary simplicity of balance sheets and bank accounts, of profit and loss.
Working in the non-profit world, I had the chance to witness all kinds of misunderstandings: between publishers and tech platforms, philanthropists and grant recipients, journalists and activists, and more.
The most satisfying moments of my career have been in bridging these gaps and building lasting relationships. A key example of this kind of work was the creation of the Global Anti-Corruption Consortium. This sees investigative journalists and activists cooperate to pursue cases of cross-border corruption and ensure that justice is done through effective advocacy. In the short time it has existed, the consortium has already had enormous impact through investigations like the Azerbaijani Laundromat.
I now pursue work that addresses what I feel are the biggest threats to democracy, political stability, and human happiness. For more, feel free to browse selected media below:
Fixing Misinformation is a Misguided and Inefficient Strategy
It's the Shadow Economy, Stupid (talk at BIL:SF 2017)
Security Means Nothing Without Freedom
The Age of Trust is Over – What's Next?
Interviews with France 24 and Orange Magazine during the Open Government Partnership Global Summit
Stunned Open Government Community Searches for Solutions
American Optimists Face the New Reality for Media and Democracy
I co-wrote a chapter in a book whose title may yet be overtaken by events. You can pick up a copy here.
You can also find different versions of me on Twitter, Facebook, or LinkedIn. I write on Medium and on my blog, Never Cruel | 413 |
news, latest-news, Ava Raboitoga, steven brandon, illawarra rugby, rugby union, shoals, shoalhaven, cancellation, darin crofts
The hopes of Shoalhaven securing their second-ever first grade title in 2021 have been dashed after their Illawarra Rugby season was cancelled on Tuesday. Following the extension of the Greater Sydney lockdown, the Illawarra Rugby board decided at a meeting on Monday that their 2021 junior and senior seasons would be "null and void". The<|fim_middle|> is that most of the same guys are going to come back next year and try and get that premiership," Brandon said.
"The camaraderie between both sides is incredible and the scary thing is that neither played up to their potential in 2021
Read more: Tokyo Olympics a learning curve for Jye Edwards after eventful debut
"We now realise what we need to do to be successful and what style of rugby we want to play.
"With everyone's buy-in, there's no reason we can't give the competition a red hot crack next year."
Illawarra Rugby is the latest South Coast sport to announce cancellations in the past week, following AFL South Coast seniors and Illawarra juniors - as well as the postponement of the Koori Knockout.
Discuss "Virus sidelines Shoals' 2021 Illawarra Rugby premiership ambitions" | reasons for the decision by Illawarra Rugby president Darin Crofts and his board were; "We are confident that we can return in season 2022 safer and wiser for the experiences of the past couple of years," said Crofts. Read more: Rose makes amends for Rio disappointment with Tokyo success After starting the season 11-0, the Shoals were shaping up as one of the premiership favourites, which makes the decision an even harder pill to swallow for skipper Steven Brandon. "I was very disappointed when the cancellation decision came through - it's been a hard two years but I understand why it was done," Brandon said. "This is the first time in a number of years we have had two teams playing really well and to have not lost a game in first grade this season, is an incredible achievement for us." While they've missed out on claiming silverware in 2021, Brandon admits this season has set his rugby club-based club for future success. "The style of footy we were playing was a lot more balanced and the positive aspect is that most of the same guys are going to come back next year and try and get that premiership," Brandon said. "The camaraderie between both sides is incredible and the scary thing is that neither played up to their potential in 2021 Read more: Tokyo Olympics a learning curve for Jye Edwards after eventful debut "We now realise what we need to do to be successful and what style of rugby we want to play. "With everyone's buy-in, there's no reason we can't give the competition a red hot crack next year." Illawarra Rugby is the latest South Coast sport to announce cancellations in the past week, following AFL South Coast seniors and Illawarra juniors - as well as the postponement of the Koori Knockout. We depend on subscription revenue to support our journalism. If you are able, please subscribe here. If you are already a subscriber, thank you for your support.
/images/transform/v1/crop/frm/38rAid9dPbZiZGpKNJzrreW/493bc2b8-36de-45e9-b601-7e9f7f0e5f76.jpeg/r0_124_4233_2516_w1200_h678_fmax.jpg
August 4 2021 - 9:45AM
COVID-19 sidelines Shoals' 2021 Illawarra Rugby premiership ambitions
Courtney Ward
Shoals' Ava Raboitoga makes a run against Avondale in 2021. Photo: Giant Pictures
The hopes of Shoalhaven securing their second-ever first grade title in 2021 have been dashed after their Illawarra Rugby season was cancelled on Tuesday.
Following the extension of the Greater Sydney lockdown, the Illawarra Rugby board decided at a meeting on Monday that their 2021 junior and senior seasons would be "null and void".
The reasons for the decision by Illawarra Rugby president Darin Crofts and his board were;
The prevailing feeling among clubs was that it is neither practical nor safe to attempt a return to play in September (presuming the lockdown ends at the end of August).
There is little or no support for extending the competition into October.
The uncertainty around the length of the lockdown and the need for certainty by clubs. This decision means that the district and clubs can now concentrate on season 2022.
Notwithstanding a couple of suggestions from clubs, the board does not believe it is appropriate to declare premiers, Club Champions, or awards in any grades for season 2021 apart from the three challenge shields; Peter Woods Challenge Shield, John Hayne Shield (both Shoalhaven) and #talktomebro Shield (Bowral).
"We are confident that we can return in season 2022 safer and wiser for the experiences of the past couple of years," said Crofts.
Read more:Rose makes amends for Rio disappointment with Tokyo success
After starting the season 11-0, the Shoals were shaping up as one of the premiership favourites, which makes the decision an even harder pill to swallow for skipper Steven Brandon.
"I was very disappointed when the cancellation decision came through - it's been a hard two years but I understand why it was done," Brandon said.
"This is the first time in a number of years we have had two teams playing really well and to have not lost a game in first grade this season, is an incredible achievement for us."
While they've missed out on claiming silverware in 2021, Brandon admits this season has set his rugby club-based club for future success.
"The style of footy we were playing was a lot more balanced and the positive aspect | 1,022 |
Animal Championships
Lonely Planet Kids, Kate Baker
Did you know that the cheetah can accelerate faster than a racing car - or that a peregrine can swoop at prey at speeds of almost 260kph (160mph)? These are just some of the incredible facts you'll discover as 50 of the world's most awesome animal athletes compete in their very own athletics championships. From the fastest runner and deepest diver to the loudest screecher and greediest guzzler, this is a sporting contest like no other!With light-hearted text by Kate Baker, quirky illustrations by Andres Lozano and loads of flaps to lift, this interactive book will keep kids amused for hours. What's more, with plenty of fun facts and figures dotted throughout<|fim_middle|> Kids: Lonely Planet Kids - an imprint of the world's leading travel authority Lonely Planet - published its first book in 2011. Over the past 45 years, Lonely Planet has grown a dedicated global community of travellers, many of whom are now sharing a passion for exploration with their children. Lonely Planet Kids educates and encourages young readers at home and in school to learn about the world with engaging books on culture, sociology, geography, nature, history, space and more.
We want to inspire the next generation of global citizens and help kids and their parents to approach life in a way that makes every day an adventure. Come explore!
Magic Paintbrush
Practical Android - 14 Complete Projects on Advanced Techniques and Approaches
Boats- Fast and Slow | , including where the animals live, what they like to do and their claim to fame in the animal kingdom, this is an invaluable learning resource as well as a whole lot of fun.
About Lonely Planet | 40 |
New Book: Masters of Modern Car Design
'Masters of Modern Car Design' is a book that features the design directors of the biggest nine automotive groups.
Walter de' Silva from the VW Group, Ed Welburn from GM, Lorenzo Ramaciotti from the Fiat Group, J Mays from Ford, Peter Schreyer from Kia, Jean-Pierre Ploué from PSA, Adrian Van Hooydonk from the BMW Group, Laurens van den Acker from Renault and Gorden Wagener from Daimler: nine people that are key to contemporary car design. Nine design chiefs influencing the appearance of almost every car in the world.
The book shows the men behind the machines, tells their stories, presents their compelling personalities, and unveils some drawings that have never been seen before.
True to the subtitle 'Ever since I was a young boy, I've been drawing cars', it focuses on the human aspect with childhood pictures and early illustrations, thus emphasising that these were once young boys with a dream, that eventually came true. It hopes to be inspirational for young talents.
Each designer has an own chapter, based on interviews, written as if the designer talks directly to the reader. The book doesn't give a right or wrong answer. The designers sometimes agree with each other, more often they contradict. That's how complicated car design is.
The book won first prize in the prestigious ADAC Buchpreis award at the Frankfurt Book Fair.
The book is written, produced and published by WAFT Publishing, a small, independent company run by photographer Lies De Mol and motoring journalist Bart Lenaerts.
This hardcover book with soft touch finishing measures 30×30 centimetres and has 252 pages. A German version is made with Delius Klasing Publishing. The English version is only available at www.waft.be. Both cost 60 euros.
WAFT also sells other books about motoring culture. WA<|fim_middle|>, drawing cars, Ed Welburn, Fiat, Ford, Frankfurt Book Fair, GM, Gorden Wagener, J Mays, Jean-Pierre Ploué, Kia, Laurens van den Acker, Lies De Mol, Lorenzo Ramaciotti, Peter Schreyer, Peugeot, Renault, VW, WAFT Publishing, Walter de Silva
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'Grand Prix' Design Award for Kia's Peter Schreyer
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TEFAF Maastricht: Design Duo Scholten & Baijings Explore MINI Car Design
Volkswagen Design Chief Honoured with Academic Award
Video Interview: Volkswagen Head Designers Walter de Silva and Klaus Bischoff Discuss the New Golf | FT 1 & 2 are both limited to 1.000 copies only. The first has a unique 'oil on canvas' cover painted with real engine oil, the second a cover with paint of exceptional prototypes. Belgian Car Designers features ten car designers that are born and raised in Belgium.
Tags: ADAC Buchpreis, Adrian Van Hooydonk, Bart Lenaerts, Belgian Car Designers, BMW, book, car design, car designer, car sketch, Citroën, Daimler, Delius Klasing Publishing | 112 |
Carol Naylor
2 Jubílee Road, Chichester PO19 7XB
Richly stitched machine embroidered textiles that explore qualities of light, colour and texture observed in land, sea and sky.
Carol studied at Goldsmiths Art School. Following a career in lecturing, she now works as a freelance artist. She creates richly textured, undulating landscapes, and more recently, abstract sea and skyscapes, by using her sewing machine as a tool for drawing and painting. Her award -winning textiles have been exhibited widely in the UK, in the USA at SO<|fim_middle|>instagram@naylorcarol
See more at www.carolnaylor.co.uk
A two minute walk from Chichester Theatre car park. Exit by tennis courts, cross over Oaklands Way before the roundabout. Jubilee Road is at the top of New Park Road, first house on the left. | FA in Chicago and Santa Fe, and across Europe, including Art Expo Milan. She is also represented by Primavera Gallery in Cambridge, and in Oct 2018 she was the Craft Council's selected member of the week. She says- Intensive, continual stitching changes the base fabric from a flat surface to one that moves and undulates with its own unique quality. The sculptural qualities in larger works, and loops and textures caused by tension and thread changes are an integral part of the process. I find that this technique gives me a more painterly approach to textile art. Drawing freely with the sewing machine needle provides the marks a paintbrush or pencil would make, and the richly coloured threads offer a wide and exciting palette.
email carol@carolnaylor.co.uk
www.facebook.com/carolnaylor.18
| 172 |
Caroline Spence
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Hometown Victoria, Canada
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Canadian singer-songwriter, Caroline Spence, writes and performs music that is progressive folk-rock, with a twist of new wave, a twist of jazz & blues and a twist of pop. The lyrics are poetic, emotive and clever. The vocals are lush, deep and...
Canadian singer-songwriter, Caroline Spence, writes and performs music that is progressive folk-rock, with a twist of new wave, a twist of jazz & blues and a twist of pop. The lyrics are poetic, emotive and clever. The vocals are lush, deep and resonant and feature gothic and eclectic multiple harmonies. The set takes the listener on a journey of stories, told in the best folk-fusion style. The vocals go from light and airy to velvet, passionate and powerful. Intricate interplay between sweet-toned guitar sounds and dreamy orchestration from a myriad of instruments, create a unique musical tapestry.
"This music instantly brings up images of the Smiths meets the Cowboy Junkies. It is part sixties folk and part twenty-first century rural meets urban adventurism…" – Chris K., Pro Critic Radio
Caroline Spence and her band have consistently entertained audiences and captured their attention and respect by playing music that is lyrically strong and meaningful, with catchy arrangements, put together in an eclectic and interesting mix that has something for every listener. The band has an exciting<|fim_middle|>006 IMAs. They also were the regional winners of the Mazda Music Tour and were touted as 'one of Canada's top 12 alternative acts to watch'.
"...A prismatic and charismatic performer with many unique and important things to say." - Danica Nolan, Indiemark
The band has toured across Canada numerous times and has played many festivals and events, as well as showcasing at New Music West. The band have been honoured to share the stage with some of Canada's best folk and independent artists including Ember Swift, Melissa McLelland, T.Nile, Rae Spoon, Chris Belsito, and The Gruff. They also had the honour of opening for incomparable US artist, Melissa Ferrick on her Canadian tour at the Rainbow Theatre in Whistler.
"Reminding me of some of the great music that I've heard from the Projekt label...the female vocals/harmonies are especially great...definite ear candy... " - Tim MacAleese, Canadian Rawk Network
Their music has been played regularly on CBC and college radio. Their 6-song EP, 'hello' was produced by Michael Jack (Jann Arden, Bono, Rush, The Trews) & featured the song, 'Hey Gemini', which won the Great Canadian Talent Search sponsored by Canadian Musician Magazine. Caroline is currently working on an exciting new project set for release summer 2010.
"What a beautiful voice she has. It has depth..." - Pete McDonald, Peer - Garageband
Living Like Garbo
Hey Gemini
AnyDayNow
Copyright ©Amazing Media Group 2006-2022 Contact Us | and passionate stage presence and real rapport with each other. It is no wonder that this band won the Live Performance of the Year Award at the 2 | 30 |
May 26, 2016 weblog
Possible case for fifth force of nature
by Bob Yirka , Phys.org
The Standard Model. Image credit: AAAS
A team of physicists at the University of California has uploaded a paper to the arXiv preprint server in which they suggest that work done by a team in Hungary last year might have revealed the existence of a fifth force of nature. Their paper has, quite naturally, caused quite a stir in the physics community as several groups have set a goal of reproducing the experiments conducted by the team at the Hungarian Academy of Science's Institute for Nuclear Research<|fim_middle|> mean that it is a force that is not one of the four described as the fundamental forces that underlie modern physics.
The paper uploaded by the UoC team has created some excitement, as well as public exclamations of doubt—reports of the possibility of a fifth force of nature have been heard before, but none have panned out. But still, the idea is intriguing enough that several teams have announced plans to repeat the experiments conducted by the Hungarian team, and all eyes will be on the DarkLight experiments at the Jefferson Laboratory, where a team is also looking for evidence of dark photons—they will be shooting electrons at gas targets looking for anything with masses between 10 and 100 MeV, and now more specifically for those in the 17 MeV region. What they find, or don't, could prove whether an elusive fifth force of nature actually exists, within a year's time.
Data from 'old' experiment appears to constrain the idea of dark photons as part of dark matter theory
More information: arxiv.org/pdf/1604.07411v1.pdf
A. J. Krasznahorkay et al. Observation of Anomalous Internal Pair Creation in: A Possible Indication of a Light, Neutral Boson, Physical Review Letters (2016). DOI: 10.1103/PhysRevLett.116.042501
Journal information: arXiv , Physical Review Letters
© 2016 Phys.org
Citation: Possible case for fifth force of nature (2016, May 26) retrieved 18 January 2020 from https://phys.org/news/2016-05-case-nature.html
Diphoton bump at LHC leads to generation of hundreds of theoretical papers
Researchers explore the billiard dynamics of photon collisions
New spectroscopy of 10-Lambda-Be hypernucleus redefines the reference data of Lambda hypernuclei
Graphene made superconductive by doping with lithium atoms
Neutrino trident production may offer powerful probe of new physics | .
The work done by the Hungarian team, led by Attila Krasznahorkay, examined the possible existence of dark photons—the analog of conventional photons but that work with dark matter. They shot protons at lithium-7 samples creating beryllium-8 nuclei, which, as it decayed, emitted pairs of electrons and positrons. Surprisingly, as they monitored the emitted pairs, instead of a consistent drop-off, there was a slight bump, which the researchers attributed to the creation of an unknown particle with a mass of approximately 17 MeV. The team uploaded their results to the arXiv server, and their paper was later published by Physical Review Letters. It attracted very little attention until the team at UoC uploaded their own paper suggesting that the new particle found by the Hungarian team was not a dark photon, but was instead possibly a protophobic X boson, which they further suggested might carry a super-short force which acts over just the width of an atomic nucleus—which would | 206 |
The recent flood of precise cosmological observations have for the first time succeeded in precisely pinning down the properties of the observed early universe. This success has revealed two startling features of the universe, which has revolutionized our picture of nature in two distinct ways.
of the universe, during which its size<|fim_middle|>. | increased in an accelerated way.
kinds of particles and interactions that have hitherto gone undetected in experiments on Earth. As a result they have caught the attention of those theorists who study our best-formulated theory of how nature works at its most fundamental level. The relatively new field of string cosmology aims to try to see if string theory (our best-motivated theory of nature at its most fundamental) can explain the Dark Matter and Dark Energy, and to see if it can account for why the universe might have undergone a very early epoch of inflationary expansion. Besides being interesting in its own right, success in either of these directions could provide the first real experimental tests of string theory, which has so far proven elusive | 147 |
Successful weekend of marine litter picking and sustainability with Oris in the Dutch Wadden Sea
Thursday 23rd September, 2021
As part of the collaboration with the Swiss watch maker Oris, and in celebration of World Clean Up Day, this weekend saw specially invited guests spend two days in the Dutch Wadden Sea in order to pick marine litter and learn more about local efforts to make the Wadden Sea more sustainable
Over 20 specially invited guests spent this past weekend, 17th to 19th of September, in Lauwersoog in the Dutch Wadden Sea, in order to learn about the Wadden Sea, local sustainability initiatives and experience the Wadden Sea by sailboat.
Saturday was spent abord a flotilla of recreational sailing crafts, including traditional Dutch Wadden Sea boats, generously provided and excellently skippered by the Wadvaarders Association. The day was perfect for sailing, with mild winds and clear blue skies, and the 1<|fim_middle|> of watches which Oris have produced with the aim of celebrating our marine heritage and while also highlighting the importance of the conservation of our oceans. Over the past decade, Oris has worked with non-profit environmental organisations and clean-up movements all over the world, so the collaboration with the Wadden Sea, a marine World Heritage Site, was a natural fit. 2021 is also the year that Oris SA became climate neutral.
A further two events are planned in the next two years in Germany and Denmark, also with a focus on change for the better, education and marine conservation.
Wadvaarders ships. Copyright: CWSS | 6 or so vessels took off from the harbour at Lauwersoog for the sandbanks of Het Rif, west of the island of Sciermonnikoog. Here guests and sailors spent a beautiful afternoon collecting over 240 kgs of marine litter, including glass, plastic containers and much litter from the fishing industry.
Marine litter is one of the key areas of work which the International Wadden Sea School (IWSS), one of the benefactors of the Oris Dat Watt collaboration, is currently involved in. The event was filmed with the aim of creating educational and instructional videos to be used by the many visitor centres who are core network partners of the IWSS. The removal of the litter was generously organised by the Noord Nederlandse Reinigingsdienst, a circular economy champion, who will recycle as much of the marine litter which was collected as possible.
The Watvaarders is a special interest organisation, with over 2000 members, which has worked for over 30 years as an ambassador for the sustainable use of pleasure craft in the Wadden Sea. The group is committed to treating the nature of the Wadden Sea with respect and are co-instigators of the Code of Honour for pleasure sailing in the Wadden Sea. They often consult with management parties on the development and protection of the Wadden Sea, in relation to water sports and sailing.
On Sunday the group was introduced to the harbour of Lauwersoog, which is currently working towards becoming a sustainable harbour. Several local initiatives where introduced, including the Great Plastic Bake Off and the yet to be built Wadden Sea World Heritage Centre. Participants were particularly impressed by the "Ecolution", a sailing vessel that runs on hydrogen instead of diesel. Lunch was enjoyed at 't Ailand, a restaurant run by two local fisherwomen. The event was concluded with a Dark Sky Park excursion in the evening. Although there was full moon, the group learned a lot about the interaction between humans and darkness. The event was supported by the Prowad Link project, and was intended to show how the project partners can engage with SMEs in order to improve in opportunities for brand campaining.
The collaboration, which saw the launch of the Dat Watt watch in May of this year, is a part of a series | 467 |
It's all good! Sometimes the later artist's version is more successful and makes more royalty income for the writer. Sometimes not. Regardless, we're willing to bet you'll be surprised by at least some of these songs when you learn they're covers.
In May 1979, Dan and Coley's "Love is the Answer" was number 10 on the Billboard Hot 100 chart. I was 12 years old at the time, and I remember its release. Though we didn't realize what we were hearing at the time, it was the first exposure of a lot<|fim_middle|>.
You can check out Trevor Croft over on his site, Trevor Croft Media.
Fun post! I do often get surprised when I learn certain songs are covers. I believe Elvis Presley has many, like "Blue Suede Shoes" – that's a cover.
LOL my parents love to refer to Linda Ronstadt as the Cover Queen because that is almost all of her entire catalog! I did not know that about Muskrat Love. I did know a bunch of these but it is still so fascinating, especially to see the differences in the original to the covers!
Hold the phone. Hurt was a cover. While Im all for some NIN, Johnny Cash killed it! I also love Clapton but Bob Marley is the man! Im a sucker for a good cover!
I had no idea it was a cover.
This is so interesting! The only one I knew was "Hurt".
Great picks! I love Eric Clapton. <3 I always love hearing covers of other songs. John Mayer's free falling is one of my favorites.
This was fun, I actually didn't know that Eric Clapton covered I shot the sheriff, I was only aware of the Marley version. Thanks for sharing.
This is such an interesting article! Some I knew the original better than the cover! I love oyo como va btw. Some of these songs are new to me!
Love this. I was so surprised about how many of the songs were covers. There were only a couple that I knew for sure were covers.
I absolutely love cover songs. I didn't know most of these were covers but I love that! I love listening to a cover that puts a new artistic spin on the original. This is why shows like American Idol or The Voice are guilty pleasures of mine. One of my favorites to come out of American Idol is Phillip Phillips and he always took a great song and put such an artistic spin on it. Whether it was changing the melody or the arrangement, it's so masterful. I could literally go on for days about how much I love covers and I didn't even realize it until I was writing my comments! Thanks for sharing and helping me discover this revelation about myself.
Gary Jules' 'Mad World' is not Gary Jules' and I still don't know how I feel about it. | of kids my age to a soprano saxophone. Many of us thought Dan and Colely's version was the original, but . . .
The Pointer Sisters recorded Fire in November 1978 on their album Energy. It became a huge hit for them in 1979, rising to no. 2 on the Billboard Hot 100 chart. However, . . .
. . . Bruce Springsteen wrote it in 1977 and originally released it as a single in 1978. He wrote it for Elvis Presley and sent it to him, but Elvis died in August 1977 and never had a chance to listen.
Carlos Santana's 1970 recording of this song hit number 13 on the Billboard Hot 100 chart in April 1971, and it's still played today on classic rock radio stations.
Robert Palmer ("Addicted to Love", "Bad Case of Loving You") released this song as the fifth single from his album Riptide. It went to no. 2 on the Billboard Hot 100 chart in 1986, and the video went to no. 1 on MTV (likely because of the backup singers in black and white dresses, but when something works, it works!) It was much more successful than . . .
This song was just cool when it came out in 1979: great riff, high production values, and one of the best guitar solos, ever! So far as I knew, the Atlanta Rhythm Section created this one.
But then, one day, I heard a version of it in my dentist's office with a tenor sax solo, instead of a guitar solo. The recording sounded older than Atlanta Rhythm Section's version. I did some research, and turned-up the Classics IV recording. Released in 1968, this one actually did better on the charts than the Atlanta Rhythm Section version eleven years later. The Classics IV recording reached no. 3 in the US and no. 46 in the UK (compared to the Atlanta Rhythm Section's version, nos. 17 and 48, respectively).
Convinced I had found the original, I didn't think any more about it . . .
Whitney Huston recorded this song for the soundtrack of The Bodyguard in 1992. "I'm Every Woman" was the second single released from the soundtrack. The single peaked at no. 4 on the Billboard Hot 100 chart and held a place on that chart for 20 weeks. It was no. 1 on the Billboard Hot Dance Club Play chart, and topped several other charts internationally.
Okay, you may have known this was a cover because Houston shouts the originator's name in tribute at the end of her recording: Chaka Khan. I didn't know this at first, but that's because radio DJs kept cutting that part off with station IDs and so forth.
Despite its mediocre performance on the US radio charts, Bow Wow Wow's 1982 release of "I Want Candy" had everything: a Bo Diddley beat; a memorable, rockabilly guitar lick; and a gorgeous lead singer with a Mohawk: Annabella Lwin. The song's endurance over the years has been attributed to the popularity of the music video, which received heavy play on MTV. Even my die-hard metal-head friends would watch that video when they thought no one else was looking. We all thought it was Bow Wow Wow's original.
A huge hit for Eric Clapton, "I Shot the Sheriff" went to no. 1 on the Billboard Hot 100 and, in 2003, it was inducted into the Grammy Hall of Fame. This is the only version one can hear on most radio stations in the US. But, as a listener, you might be thinking: This sounds like reggae. Clapton never billed himself as a reggae artist.
"You're No Good" was a breakout hit for Linda Ronstadt in 1975, soaring to no. 1. When this song is played in the United States on radio stations, it's nearly always Linda's version. My friends and I thought she wrote it and recorded it first.
This one gets honorable mention because everyone knows the song was covered, but by whom? Johnny Cash's 2002 recording received critical acclaim and gets much airplay. It currently underscores the trailer for 20th Century Fox's movie Logan, released in 2017, starring Hugh Jackman and Sir Patrick Stewart. It's a classic, and it is normally assumed that Nine Inch Nails did a cover of a Johnny Cash tune.
And one day, you find America's 1973 recording, which the band included on their album Hat Trick and released as the album's first single. Their version never gained the traction that The Captain & Tennille's did (America's cover ranked no. 67 on the Billboard Hot 100; no. 11 on the Billboard Adult Contemporary chart). Listening to the recording, however, you realize that, while they aren't singing about flying alligators this time, they are singing about anthropomorphic muskrats dancing the tango. Hearing these quirky lyrics with America's signature harmonies, you're sure you've finally found the original.
I recently heard Todd Rundgren do a cover of "Muskrat Love" live. It was essentially the Captain & Tennille arrangement, complete with synthesized muskrat sounds. Afterward, he gave a rather scathing critique of the song. I was thinking it was a strange programming choice, but then Rundgren started singing Lorne Greene covers, and all thoughts of "Muskrat Love" as an odd song choice flew out the window.
So, what do you think of the list? Did I miss any cover songs that made you go "huh"? Let me know in the comments, below.
Trevor Croft is the founder of Trevor Croft Media, a media production company that provides quality multimedia for all budgets—from high-powered live video and vector-based animation to quality-but-affordable kit animation and studio spokespersons | 1,291 |
A Portrait of the Artist
By John Wolfson· 5/15/2006, 6:43 p.m.
The St. Botolph Club, like so much of old-world Boston, has lost most of its influence over the decades, if not its sense of significance. Founded in 1880, the private art club once included members such as Henry Cabot Lodge, Henry Houghton, George Mifflin, and John Bartlett. Robert Frost, whose portrait still hangs at the club, was made a member in 1932. The first American exhibition of Claude Monet's work was held at St. Botolph, as was a major early showing of John Singer Sargent. That, of course, was all a very long time ago. These days, the club retains its stuffy formality but has gone a touch drowsy; old men in jackets and ties — the ban on female membership was lifted back in 1988 — sip afternoon scotch in a grandiose first-floor sitting room that remains hushed enough,
despite the muffled conversations about who once taught which class where, to discern the rippling pages of the Wall Street Journal. Which may explain why no one has forgotten that night early last year when Peter Lyons's show opened at St. Botolph.
Lyons was then an unknown painter, a security guard at the Museum of Fine Arts who, like a character in a movie script, would rocket in just a few months to art-world darling, drawing favorable comparisons to Edward Hopper. His ascent, along with his lonely landscapes, electrified St. Botolph's membership.
It was shoulder-to-shoulder that night, all the way to the front hall by the main entrance. Servers balancing trays of hors d'oeuvres had trouble navigating through the crowd. Only raised voices could be heard above the excited buzz. "It was not," Theodore Stebbins Jr. recalls, "a typical sort of St. Botolph event."
Eventually, it fell upon Stebbins to make his way to the second step of the spiraling staircase just off of the sitting room. The club quieted as he looked out over the crowd. Ted Stebbins, generally regarded as one of the nation's leading art scholars, the former curator of American paintings at the MFA, the current curator of American art at Harvard's Fogg Art Museum, was about to recognize this guy Lyons, the security guard with the dazzling pictures on the wall.
Everyone understood the significance of the moment. By then, most of them knew that Lyons had managed the previous summer to convince Stebbins to walk the few blocks from his Harvard office to the one-bedroom apartment that doubles as Lyons's studio. "He came over [to my office], so I couldn't back out of it," Stebbins remembers, laughing. The two men and Stebbins's assistant ascended several flights to the apartment. Lyons had set up four paintings for the occasion. "Usually you see things and you wonder how to get back to your office," Stebbins says. "In Peter's case, I thought, 'These works are intense.'" In one afternoon, the dream of struggling artists everywhere had become Peter Lyons's reality.
Stebbins placed a call to Saundra Lane, the nationally known Boston collector whose purchases help establish art-scene conventional wisdom. Stebbins escorted Lane to the apartment for a viewing. She noted, as many do, similarities to the work of Hopper, one of Lyons's heroes, but also saw an important distinction. "Hopper — I'm always kind of dejected by him," she says. "Whereas with this young man, I see a future." Lane bought Blue Midnight, in which a huge oil drum lurks at the center, partially aglow and vibrant in the fleeting daylight but mostly dark and quiet in advancing shadow. "I almost get the feeling that I'm on another planet when I see his work," Lane says. The significance of making such an impression on Saundra Lane cannot be overstated, for, as art critic Christine Temin noted in a Boston Globe piece about Lyons, "A résumé that mentions the Lane Collection means something in the art world."
Stebbins also mentioned Lyons to a few Newbury Street art dealers. For various reasons, they all passed. When he recommended Lyons to someone at St. Botolph, however, he got the reaction he was hoping for. The members of the club's art committee made the trek to Cambridge for their own look at the paintings, and soon arrangements for a Lyons show were settled.
Standing up on that second step at the opening, looking out over the exhibit and all those people, Stebbins found himself amazed. He knew the pictures were gorgeous, but all he'd really expected was to get Lyons a bit of exposure. He'd never imagined such a turnout, such a frenzy. "He's a good young artist," Stebbins told the room. "It's good to see everyone appreciating him."
Nearby, suited in the first sport jacket he'd ever owned, Lyons stood dazed at the center of a congratulatory pack. He accepted slaps on the back and best wishes from giddy strangers. "People were very excited," he told me. "They knew they were part of something special. It's the classic story. It's like seeing a unicorn-you've all heard about it, but when you actually see one it's a real shock. Magic moments happen and you feel them."
The spell would linger for several weeks. The guard making 12 bucks an hour would sell an astonishing $110,000 in paintings during the exhibition. He was 42, far older than the typical up-and-comer, but after years of starving-artist endurance, he had arrived.
Lyons had always imagined it this way, even back when he infuriated his parents by dropping out of college and teaching himself to paint. Now he had a show at one of New York's most influential American art galleries fast approaching. The future glimmered, glorious and limitless, as he had always dreamed. What he was about to learn, however, like so many striving painters, novelists, and filmmakers before him, was that sometimes for the discovered artist, the real struggle has only just begun.
Like all true artists, Peter Lyons is a shaman. I know this because it was one of the first things he ever told me. About 2 percent of painters are shamans, he said; the rest are crap, choking the life out of the best galleries in New York and London and Paris.
From certain angles, Lyons resembles the actor Peter Sellers. He appears coiled and intense even when he's smiling, as though perpetually at his most critical creative moment. "The artist as shaman is this direct experience with the spiritual world," he said. "Through a metaphor — a painting on a cave wall, a painting on a canvas, or a dance around a campfire with song — he takes the other people around him on this journey that only he could take." What he seemed to mean was that the work of the true artist functions as a portal, offering momentary passage to grace and truth. And even if I was wrong, even if I hadn't completely grasped the artist-as-shaman conceit, what of it? Who was I to question Lyons's theories about the metaphysics of the art universe? He was, after all, painting's Next Big Thing.
That, at least, was the hope of certain powerful figures within the Boston art establishment, the sort of people who can provide access to a place like St. Botolph<|fim_middle|> agent, Jeffrey Brown, told me that, heretofore, his own career had consisted mostly of brokering the work of dead artists. How thrilling to represent a client with life, with drive, with a chance. Brown, like others who earn their living at the periphery of the artistic process, glimpsed in Lyons that most precious of opportunities-the chance to participate, even if just a bit, in artistry itself. By clearing the space upon which Lyons's impending success could be built, by closing the deals and arranging for the news articles and buying the odd painting, they could, like some form of venture culturists, own for themselves a tiny slice of that success.
So what if Lyons had pissed away most of his small fortune from the St. Botolph show? So what if he had blown it on $17 cigars and $3,500 wristwatches and a $2,800 custom-made walnut box for his paints? As he would explain some time later, "Money isn't particularly a worry. You've got to put it in perspective. I sell two big pictures, there's $60,000" — he snapped his fingers — "like that."
Lyons was 29 years old when he finally made it out of New Zealand. He had taken up painting after abandoning his pursuit of a physics degree and made enough money at a small show to buy a ticket to Los Angeles. His plane touched down on April 30, 1990, and he took a room at a Huntington Beach hostel, where he met Matt Roberts, a Brit who would become a close friend. To save money, Lyons, Roberts, and five others crammed into a small suite in a nearby motel. There was barely enough room to move, Roberts recalls, yet Lyons set himself up with a makeshift painting station. "Pete is just the most fixated, single-minded, maybe even obsessed person I've known," he says. Roberts eventually moved in with a girlfriend, and Lyons joined them for a time. He bounced around Southern California for the next five years, selling peanuts and Gummi Bears door-to-door in office parks, working as a security guard in a mall, doing construction. The work was humiliating. "I just got enough money each day to come back in the morning and have one meal," he says. Roberts once visited Lyons and was shocked to discover he hadn't eaten in three days. Yet Lyons insisted on the finest amber resin to embellish his paints. "This stuff costs about $100 for a tube," Roberts says with a laugh, "and he'd go and buy that instead of food." At the time, however, Lyons's obsession was hardly a laughing matter. To his friends, he sometimes seemed depressed. "There were times I did worry for him," Roberts says. "There were times when I thought things could go bad for him." After Roberts went home to live in England for good in 1995, he asked mutual friend Rick Handt to keep an eye on Lyons.
Handt became Lyons's primary connection to the outside world. So when Handt moved to Boston in 1996, Lyons followed a few months later. They shared an apartment in the North End, and Lyons took a job baking croissants at Iggy's Bread of the World in Watertown. From there he moved on to the security job at the MFA. Handt admired his friend's willingness to sacrifice everything for his art but was frustrated, too. "He always said he knew he was going to be a success, but he would never do what I thought it took, like going around to galleries with a portfolio," Handt says. "Who's going to see your paintings when they're in your room?" Contributing to that inaction, Handt knew, was Lyons's sense of isolation. "I can't connect to him on his artistic level," says Handt, who works for the U.S. Department of Justice. "We can talk about it, but I don't have that background or that higher spiritual appreciation of it. He does find himself lonely on a certain level. It consumes him, and to not be able to share that with people must be very lonely."
And that's why Handt went along with a bizarre scheme Lyons concocted in 1998 to finally get his work noticed. Lyons asked Handt to drive him to New York, where he would spring his work on unsuspecting gallery managers. "As crazy as I thought it was, I had to get the van," Handt says. "I had to help him." Lyons was, after all, at long last displaying initiative.
It went about as well as Handt had expected. Again and again, the van would roll up to a gallery and Lyons would hop out and sprint up the stairs. Once inside, he'd unwrap the paintings from their blankets in front of stunned gallery workers. "A couple of places were going to call security and throw him out of there," Handt says with a laugh. "Most of the reaction was 'I can't believe you're doing this. Get out of here right now!'"
Despite Lyons's crackling success at the St. Botolph show, he stayed on as a security guard at the MFA for another five weeks. "I was kind of reveling in it," he says. "There's a perverse pleasure you get from doing things you really don't like for the last time." When March 2003 finally arrived and it was time for his show at the prestigious Richard York Gallery on Manhattan's Upper East Side, Lyons took the Acela Express down to the show. The glamorous life was still very new to him and he was jumpy with excitement. But a freak snowstorm hit the city. Neither Ted Stebbins nor Saundra Lane could make the opening, and attendance was disappointing. Lyons failed to sell a single painting during the monthlong show.
I sat with Lyons in late April in his cluttered Cambridge apartment. A planned second show at the York Gallery had been canceled because the gallery had closed. Founder Richard York had died shortly after Lyons's first exhibition and, according to the story Lyons had heard, York's heirs were uninterested in operating an art gallery. I knew Lyons had not sold a painting in some time, so I expected to find him in a somber mood, but he appeared almost buoyant, convinced of his inevitable fame.
I sat on his battered beige love seat with folded blankets crammed under one of the cushions. He lounged on a chair across the small living room from me, sipping beer, his feet up, his shoes off. Whatever his current problems, he assured me, he had faced worse in his life: "No matter how tough and how struggling it was, I always knew that I was a painter."
Since the closing of the York Gallery, Lyons's agent, Jeffrey Brown, had been looking for other opportunities. A couple of Boston art dealers had expressed interest, but Lyons would hear nothing of it. "Jeff, he'll get a place in New York. There's no question about that," Lyons said. "I mean, we may have something here in Boston [too]. Why not? But we will have a dealer in New York."
All around us was evidence of Lyons's spending spree following his St. Botolph windfall. Stacked haphazardly on a table were hundreds of DVDs. His prized walnut paint box, covered with a white sheet to protect it from sunlight, rested on the floor. A bottle of cologne sat on a shelf, right next to a conspicuously displayed Cartier box. I asked Lyons whether it was a contradiction for a shaman to have such an appreciation for material things. He explained that, having spent so many years in poverty and obscurity, he had lost himself for a while. "There is something about the art world, its openings and Champagne and schmoozing, which is very seductive," he acknowledged. "I like putting on all these nice clothes I have — Thomas Pink shirts and ties and cuff links and my watch. It's very seductive. All of these things, they're beginning to get their own power over me."
I wondered about the seduction and how it might affect Lyons's work, how it might interfere with his spiritual journey, with his shamanistic duties.
In mid-August, Lyons and Jeffrey Brown invited me to a showing for a few select buyers at Brown's home in Milton. The special arrangement didn't surprise me because I knew from Lyons's friends that he needed money badly. He hadn't sold a painting in a while and money was tight. I'd last seen Lyons a month earlier, when we met for lunch at a pub near his apartment. He told me then that Brown was close to landing a deal with a gallery in San Francisco. When I expressed surprise, given how adamant he had been about remaining in New York, he pointed out that San Francisco would give him exposure on both coasts. He was more reserved that day than I had ever seen him. For the first time, he refused to answer certain questions.
His friend Rick Handt later explained the pressure Lyons was feeling. "I've known him for at least 10 years now and I can definitely tell this is one of the lower points," he said. And this was after Lyons had been discovered, he pointed out. "That's what frustrates him," Handt said. "In the last year he's reached a new height in his artwork and the recognition from the art community. At the same time his sales have gone down." When I asked Ted Stebbins about Lyons's potential, his answer had nothing to do with the work. "It depends what happens to the world, what kind of art it likes," he said. The rage among collectors right now is video and multimedia. Who's to say what comes next: sculpture, photography, some as-yet-undiscovered medium?
Because of these vagaries, Lyons might be best served by establishing a name in Boston, Stebbins said, before trying to conquer the entire art world. Most artists have a difficult time enduring the fluctuations of the marketplace, he said. "It's kind of easier to struggle angrily in obscurity than to find success out in the sun and then watch the clouds cover up the sun again. That's the test of Peter as a person, as an artist. We'll know in five years. He has to have the courage and character to keep painting at his best. I have some feeling that he will. He's a very determined man."
I arrived for the showing at Jeffrey Brown's house at 2 p.m. Brown motioned me into the kitchen and told me he was in final negotiations with two San Francisco galleries. He expected to complete a deal within hours. In the dining room, Lyons fiddled with a dimmer switch for the lights that shone upon his paintings as two friends placed them, one after the other, upon the credenza. Though I knew Lyons had become fascinated by material objects, I was astonished to see brand names appear in the pictures: billboards for Cartier and the International Watch Company, a train car advertising his beloved Sennelier paints.
A second showing at Brown's home was scheduled that evening for several other potential buyers, but the afternoon had been reserved for Saundra Lane. Lyons looked nervous as he explained to her the inspirational this and that of each picture. His descriptions were saturated with "transcendent" and "transcendental." Lane listened attentively, smiling and nodding politely, but didn't show much passion until she described how she'd been buying mostly photography of late. Beaming, she mentioned a young woman in New Orleans who she'd been collecting. Lyons nodded and turned back to the painting on the credenza, explaining that end-of-day light was the most spiritual.
He finished his presentation and everyone agreed the paintings looked wonderful. His agent smiled at Lane. "Saundra, can I get you a glass of sherry?" he asked.
"No," she replied warmly, "I think I'm going to get me on the road."
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Nine Must-Eat February Dining Events in Boston | , to shows in New York, to affluent buyers. This group had experienced firsthand the shamanistic effects of Lyons's paintings, and their enthusiasm no doubt owed much to the elegant purity of his work. But there was something more: The brilliance of his trajectory, as much as that of his rare talent, attracted the agents and dealers, the collectors and critics. Lyons's | 75 |
Jean: Pancreatic Cancer Survivor
Dedicated to tomorrow's dance
Jean Meisenheimer is a determined, decisive 62- year-old-woman, a woman of action. Ten years ago, in May of 2005, she noticed a yellowing of her skin. This rang a bell with her since there is a history of pancreatic cancer in her family. Jean immediately went to her primary care doctor. A simple blood test found that her CA 19-9 levels were very high, indicating there might possibly be a chance that she had cancer cells in her body. Jean's primary care doctor quickly sent her to a gastroenterologist, who performed additional tests and found that there was a tumor on her pancreas.
Quickly, arrangements were made for<|fim_middle|> bump in the road. Even on my sickest days, I tried to think positively and to find joy in being alive. Meditation and yoga helped me keep a positive focus on my life. Prayer helped too. My two sons, Daniel and James, graduated from Fairfield Prep years ago and those priests were praying for me. James was at Providence College and he had the priests praying too. So I had a lot of people praying. I told everybody. 'Don't pray for me. Pray for Dr. Salem. Pray for the staff that is going to pull me through this.'"
"I have no regrets. I wouldn't do anything differently. I was lucky because my symptoms for pancreatic cancer were visible. Being jaundiced was a blessing. Most people spend weeks trying to find out what is wrong. I immediately went to my primary care doctor who made the appointment for the tests I needed. If I had called on my own it would have taken weeks. With the doctors calling directly to make the appointments I was seen the next day. We didn't lose any time."
Today Jean lives full time in Naples, Florida. But she still comes back to the Smilow Cancer Care Center in Orange for her checkups and to see her doctors. "It's very important to me not to give up my doctors at Yale. Even though I seldom see Dr. Salem, I think of him and all the patients he is helping every day. I have a very active life. It's been almost ten years since I was diagnosed and I've made it to age 60. I've had a chance to live life the way I wanted to. I'm in the best place and am enjoying myself."
Jean's advice for others: "Be strong in your own values. Try to be happy with whatever is thrown at you. Take it as a blessing and as a learning experience. Whether you live or die, you need to make the best of the situation. Have faith in yourself and in your doctors to pull you through it. Try to appreciate each and every day." | Jean to meet with Dr. Ronald Salem, Lapman Professor of Surgery and Section Chief of Surgical Oncology at Smilow Cancer Hospital at Yale-New Haven. "Dr. Salem told me I needed surgery," said Jean. "He recommended a Whipple procedure that would take out the head of my pancreas. As I was listening to him talk, all I really saw were his hands. He has such beautiful hands and I said to myself, 'this is the doctor I want to operate on me'."
But Jean strongly believes in being proactive, in researching and getting her own information, so that she can make informed decisions. "As impressed as I was with Dr. Salem's skilled hands," recalls Jean, "I wanted to be sure I had the best doctor and the best hospital. I am blessed with caring, loving friends, including, Dr. Bob Russo, a radiologist in Fairfield. He became my initial source of information. He told me that the best doctors dealing with pancreatic cancer in his opinion could be found at Johns Hopkins, the University of Pittsburgh, Mass General, and Yale. My research confirmed that Dr. Salem is one of a few surgeons in Connecticut with a high volume practice performing the Whipple procedure and that he is passionate about integrating the latest techniques to improve the lives of his patients with cancer. I took the time to make phone calls to specialists in the other cancer centers … calls that made it easier for me to make my decision. All the advice was the same: 'Stay in New Haven. Your surgeon is very competent. Yale also is a great Cancer Center. There is no need for you to go elsewhere. But you need to act fast. The quicker you have the surgery the better outcome you will have.' It turned out to be very good advice. The first time the doctors observed my tumor, it measured ½ centimeter. Three weeks later when I had the surgery, it was 1½ centimeters, so there was no doubt that it was growing really fast."
"Dr. Salem explained that I was facing major surgery and would have to spend two weeks in the hospital. But my niece was getting married in July so I wanted to put off the operation until after the wedding. Dr. Salem said I could not wait. I needed to be operated on as soon as possible."
"I had the Whipple surgery, with amazing results. I had no aftereffects. I had excellent care at Yale. The wonderful ICU nurses came in immediately after the surgery to get me out of bed. And the pain management people were so kind. I also am blessed with thoughtful friends who came to care for me while I was in the hospital. Even Dr. Salem was surprised that I was able to leave the hospital five days after my operation. And. amazingly enough, 10 days after my surgery, I danced at my niece's wedding.
"Since my pancreatic cancer was Stage IIIB and my lymph nodes were involved, my Yale medical oncologist, Dr. Johanna LaSala, recommended six months of chemotherapy. What was prescribed was a treatment every week for three weeks and then I'd have one week off. The chemotherapy was very was difficult. I had the typical symptoms. Nausea. Vomiting. I lost all my hair. It was really rough. But I survived it."
"The hardest thing I had to do was tell my mother. My father had passed away from pancreatic cancer in 2001 and it was most difficult to share the news with her that I had been diagnosed as well. She was living here in Florida but came to Connecticut and was with me during the surgery. She was very upset."
Jean's amazing optimism helped her through her most challenging times. "I looked at this as just a | 761 |
WEB 2.0 VIDEO REPORT - NOV 06
WEB 2.0 VIDEO: Nov. 8 iBreakfast Moderated by Lydia Loizides, Interpublic Group
The Nov. iBreakfast captured the rich, emerging field of Web 2.0 video. What makes this different from Streaming of old, is that it has taken on a whole new dimension of user interactivity. This varies by vendor but clearly, the success of YouTube, has informed every company, whether they were aiming at consumers or business: the user or viewer is part of the equation. Vidavee cofounder, Tom Gilley, who began as an early Apple employee and among the creators of QuickTime, noted that YouTube taught everyone that using open source tools, hiding complexity and enabling all video sources to be uploaded and be viewed, was critical. That, and spending a fortune in bandwidth with no remuneration until the lucky moment when a company like Google acquires you.
Most video companies have a different view, vidavee, wants to offer, technically, what YouTube offers but for the purposes of business and corporations distributing their content either on their sites, syndicating them to their partners adding to. Typically, customers pay and both companies share ad revenue - the system even helps determine where best to place the ads.
Whiteblox and Bright Cover offer much the same thing although Bright Cove, with the pedigree of Jeremy Allaire of ColdFusion and Flash fame, has had a lot of attention. They offer a free or paid service, depending on who wants to own the revenue and control the flow of ads. Whiteblox is only about being paid but it offers various social features like chat. BrightCove, which was predicated on the idea that it could make anyone or any company a video broadcaster never quite got the idea of user uploading junk and then aggregating a huge audience. But they are now working on that. PalTalk is all about videochat. With several million users, CEO Joel Smernoff site has quietly become a meeting place for viewers who just chatter and stare. But the system is well hosted, self-policing and quite viable. A good example of the "Wisdom of crowds" ethos not merely to rate but to keep the site clean.
The Wow factor of the iBreakfast probably went to Montionbox.com, which wants to be a better YouTube as well as useful corporate delivery mechanism of video. The rave factor is that the co-founder, Douglas Warshaw is both a former TV talent exec, as well as a hands-on Avid editor, who figured that people want to edit intuitively and just get out the highlights. Same for the viewer. So their tools enable uploaders to simply highlight what they like in their under 100MB video clips and the systems expertly complies them into a succint video: no time code, not cuts and cueing up and so on.
Based on the enthusiasm for this event it is clear that the standard website of tomorrow will have plenty of video for all kinds of things, customer service, explaining products and even taking feedback. Whether this eclipses TV, as we know (unlikely) or expands it in whole other way (more likely) is the subject of our upcoming Web 2.0 NY Conference in February.
1. Web 2.0 Cocktail [now iEvenings]. Upwards of 600 execs from Digital Media, TV, Web Development and VC companies visited with us and our Web 2.0 companies at the Time Warner Center. Culture Catch, Gen-9, MyTriggers, HappyHours, LiveTechnology, zRecord, SCI2 and Urban Prestige were some of the featured companies.
2. Local Ad World 300 execs witnessed the emergence of a new wave of billion dollar companies as keynoter, Nick Grouf of Spot Runner, followed the event by announcing a $40 million investment from the WPP Group.Why the Buzz? Local advertising generates 10 times more than national advertising, says Live Technology CEO, Wayne Reuvers, which bills itself as a corporate version of Spot Runner with over 50 blue chip clients.Thanks to a new wave of technology which makes it easy to aggregate, manage and micro-advertise, this estimated $600 billion market is opening wide and Madison Ave. may never be the same again.One notable sign at the event, more VCs per square inch than any ad conference....ever (we think). Expect to see this conference in multiple cities soon!
Dec. Start-Up Report - Promising New Companies
The yearend Start-Up Pitching event took place at NYU – our first iEvening in a number of years. Congratulations to the winner,Brian Smiga of PreClick, who will go on to attend Private Equity 2007 at the Yale Club. In the meantime, he has earned himself several follow-up meeting with the investors.
Since we are at the end of a season and preparing to introduce a new ePublication, we are delivering our first report and online critique of the pitches. You are all welcome to disagree and email us or post directly to our blog.
Summary and Critique of the Pitches
As a service, Alitoria hopes to introduce the concept of a Wiki, a collaborative knowledge database for specific professional industries,starting off with the BioScience industry. This is a promising concept since Wiki's are hot. But to be investible they have to show there is a big, paying audience for this with sufficient need that they would quickly adopt it. Like many early stage companies, Alitoria tended to assume that if they built it people would come: in this case, at about$10,000 a seat per annum. They may be right, even though some judges doubted that the highly secretive pharma companies would be willing to share data. But in order to get a check, Alitoria would need to show that.
Brian Smiga won with Pre-Click mostly because he has a relationship with Wal-Mart. Piggy-backing on a major partners is the no. 1 way to win credibility and raise money with investors. And that was certainly the case here. Brian is also a seasoned entrepreneur who knows how to pitch a compelling case. Naturally, there were concerns about why a Wal-Mart relationship requires more funding and whatthe brand name, Pre-Click actually means. Also,there is a debate about whether photo-retouching is best done online or on the desktop with downloaded software. Our advice: don't start a debate, work with public perception which is its own reality that is also very expensive to overcome. So in this case,do both be Software as a Service as well as downloaded!
Good Health Advertising is an anomaly in our pitching history – a sales organization in search of technology. Usually, we have technologists in search of sales. The idea makes sense: focus on the ad needs of industry's biggest spenders who have barely made inroads on Internet advertising. For an investor however, it is hard to figure out what the investible property is. After all, investors are about money and an entity they can cash out with.Hard to figure out how to IPO or sell out little more than a network of sharp salespeople.
ID Rank Security represents a number of patents applied-for on security technologies. However, it is not clear how they are actually employed, what adoption plan is and how exactly they would be monetized. In order to be investible this really has to be spelled out. Companies don't pay up license ees because they feel generous, it usually has to be squeezed out of them. Investors generally don't want to pay for the privilege of being the squeezer. Also, the pitcher floated some usage possibilities of the technology. Investors want as sure a thing as possible, so this trial balloon approach tends to undermine credibility. Know what you've got, who wants to buy or use it, what you need the money for and your prospects with investors will improve.
Mindjot is an idea in search of a vehicle and a market – saving your thoughts to a digitally retrievable database using entry codes. There may well be something to this if it were simpler, but as it stands, it appears to require one or two steps too many, and it doesn't resonate in our instant fix, intuitive culture. Also, the adoption plan alls for partnering with the trade show industry, a ontracting sector that is not known as a big spender.
Valt.X Technologies Inc. is a Canadian company that offers a hardware solution to restore a computer to its previous or pre-crash state. The prospects are indeed intriguing and it addresses a huge problem with the prospect of great numbers. However, it is not precisely clear how this works or what the user tradeoffs are. It is rare that technology comes without tradeoffs, so by ignoring this point, it is hard to get investors truly interested. The bigger the promise the more you want to back that up.
PPT was the second runner up with a professional pitch about offering what is essentially the YouTubefor PowerPoints, an aspect of the market that is simply not covered. And there are an estimated 30million Powerpoints created daily. However, it is not clear that they are ready to make this accessible to every businessperson, so the cost of sales could be high. Plus, there is the all-important "what your relationship with Microsoft" question.
Toothprints is a new way to capture DNA and more from the public. While this is an unusual pitch and an unusual product exuberantly pitched, it also turned out be a surprise hit. However, it was less about the pitch or the creative marketing plans, it was a lot more about the margin. A nickel's worth of plastic that can command upwards of $3 at the dentist's office has a way of getting investors'attention.
To paraphrase an old saying, when it comes to VCs,Margin is the Mother of Investment.
Alitora Systems Marc Hadfield, CEO917-991-9685marc@alitora.com
Alitora Systems is developing an online service, Memomics.com. Memomics.com is a web community that allows professionals to access a unique collection of high-value subscription databases blended with Internet data. It also allows these professional to comment, collaborate and evolve the data. The entire community is powered by our proprietary Semantic Database technology, kHarmony. Given current revenue for premium subscription databases and search technologies, and the untapped market in data integration, the market is estimated at roughly$8 Billion, worldwide.
2. Preclick Corporation Brian Smiga , CEO & Chairman 800-450-wiki Fax: 732-291-1007 brian@preclick.com
Preclick is the established leader providing photo social networking services and photo desktop software to Wal-Mart, HP, 3M, Sandisk, Costco &others. Preclick generates $1.7 million in revenue during 2006 and has $1.5 million pre-booked for2007. The company is projected to break even at $4million in revenue in 2007. Starting in December2006, Wal-Mart will prompt many of its 136 million consumers to use Preclick-co-branded photo software and sharing services. Preclick is paid a minimum amount per year from its clients, and the company can up-sell freemium and premium services to consumers that are reached through our large distribution partnerships. Preclick is the MusicMatch of the photo space, which exited for$160M to Yahoo! Preclick is well on its way to building an installed base of freemium users worth$10-20 each and premium, paying users worth $50-60each. The company was founded in 2002 by 20-year software vets with Silicon Valley experience.Investors include SJF Ventures (Alan Kelley, dir)and NYAngels, MAG Fund, Tri-State, LORE & other angel groups.
3. Good Health Advertising Robert Kadar. CEO & President201- 927-8473 Fax: 201-608-6904rob@goodhealthadvertising.com
Good Health Advertising -http://www.goodhealthadvertising.com/ - is anext-generation, vertically-focused Internet advertising network and advertising sales representation firm concentrating in the health and pharmaceutical advertising category. The Company s objective is to become the leading online health-focused advertising network in the industry and as a result be positioned as must-buy for virtually every pharmaceutical and health-focused advertising campaign running online. Currently there exists no clear health-focused online advertising network leader and Good Health Advertising is prepared to take on this role. We employ the latest in ad targeting and ad serving technologies and offer our advertisers a wide variety of advertising programs from which they can select.
4. ID Rank Security Gary Guttman, Board Member888-448-7265<|fim_middle|>. PowerPoint s evolution into the premier medium for delivering valuable business communications,combined with the explosion of digital media, has created the need to organize and automate the creation and distribution of presentation content.PPTshare offers a variety of products that address Presentation Management needs from single users with one PowerPoint file, to large enterprises that require compliance and high quality media for hundreds of users.
8. Toothprints International, Inc.David Smith, Partner201-264-6256 Fax: 201-995-1033davidjjs@aol.com
TOOTHPRINTS* Intellectual Property (IP) component is comprehensive, current and in good order. * TOOTHPRINTS is a better biometric tool that contains three (3) key elements: 1). Dental bite impression 2). DNA bio-marker 3). Saliva provides scent-tracing capabiliites* DNA never lies, DNA never dies and DNA will never fade away.* A unique and innovative ID product with no competition.* Over 350,000+ children have been "toothprinted"just in the USA.* Excellent ROI and high profit margin.
TOOTHPRINTS International, Inc. is poised for rapid growth as it's a unique and proven product with no competition. A new DVD has been produced which i scompelling and highlights the benefits and benefit of TOOTHPRINTS (potential market is the entire world. In addition to the below information, I also have volumes of information that highlight TOOTHPRINTSand it's outstanding and proven benefits that can benefit the entire world. TOOTHPRINTS bite impressions have a patent,copyright and a federal registered trademark soall-intellectual property elements are covered. TOOTHPRINTS is a thermoplastic wafer that each childbites into that leaves a dental impression or toothprint (appropriately named). No two toothprints are the same and even leave different bite impressions with identical twins. TOOTHPRINTS is the world's most comprehensive identification product and the Department of Homeland Security in Washington, DC is currently evaluating its unique aspects and properties.
WEB 2.0 SEARCH REPORT - DEC 6, 2006
WEB 2.0 SEARCH - DEC.
David Ives, TV Eyes • Glenn Meyers, myTriggers • Mike Brady FAST •Drew Patterson, Kayak
If you had to describe the next world of Search it would have eyes, ears, a brain, doggedness and a way to travel by canoe - er, make that by Kayak.
David Ives described how TV eyes does video search by using - its ears. It listens to the audio track in a video, turns it into text and then indexes the results. This door-opening technology makes it possible for your videos to tag themselves, generate transcripts and get translated into other languages. So yes, you really could listen in on Al Jazeera and find out what fair and balanced means in another language.
myTriggers is a shopping engine that turns pay-per-click on its ear by getting a cut of its partner's sales. So your results are as honest as the affiliated deals they have which now number over100 million products. The most interesting part is that the listing directly reflects their inventory and you go straight to the vendors' checkout. Some audience members feared this would deprive the vendor of ad revenue. But in fact, once in the shopping cart page, when the viewer has their wallet open and is ready to buy, that is just the place where they may ask: what else can I buy?
FAST is an enterprise search engine which helps companies behind the firewall to integrate their own intelligence with the way the world looks in. Aside from making the companies' own digital assets intelligently searchable, they are also able to make sense of who is looking in, and help them get to the information the company wants them to have.Artificial intelligence and a host sophisticated technologies take search to a whole place with these techniques.
Kayak, as its name sort of suggests, is about travel. Not camping but real travel. Formed by ex-Orbitz and other online travel execs, the site doesn't only deliver the usual hotel and flight goods in a travel meta-search engine, but it gives feedback from actual travelers. | Fax: 888-448-7265gguttman@katungroup.com
ID Rank Security, Inc. (IDRS) developsa uthentication & security products for secure communications & access in the rapidly growing VOIP telecom industry. With four patents pending, our secure telephony technology products make data,voice, and multimedia more secure by requiring multiple types of authentication & encryption with the additional option of real-time tracking &alerting. We have developed an IP mobile phone thatwill encrypt all transmissions and allow for authentication of all participants in the phone conversation with biometic sensors.
5. Mindjot Inc Sam Frentzel-Beyme, CEO212-988-1388 Fax: 212-504-7936sam@mindjot.com
Mindjot is a software-as-service technology company that has developed a patent-pending, marketing portal that runs seamlessly and simultaneously across cell phones, PDA s and PCs. The MindjotPortal gives consumers control of their marketing and advertising environment by allowing them to record experiences at the point of interest. At the same time, the system gives companies the ability to create, manage, deliver, and track focused campaigns in any language based on demographics, country,city, time, and other factors. By combining short,easy-to-enter, numeric codes and quick-view mobileweb pages, Mindjot converts real-world experiences into digital-world memories that can be accessedfrom any net-connected device. Revenue is generated hrough licensing fees paid by companies who deliver those messages and manage the consumer interactions through the Mindjot portal.
6. Valt.X Technologies Inc.Dennis Meharchand, CEO416-746-6669 Fax: 1-416-746-2774dennis@valtx.com
Valt.X is a fabless semiconductor manufacturer developing computer security semiconductors to protect and with absolute certainty instantlyrecover computers from malicious electronic attacks.The Valt.X Instant Recovery semiconductor solution has been test marketed at $75 per computer to Education sector clients and at $125-$150 per computer to Businesses. The target market is to implementing the Valt.X Serial ATA based Security Semiconductor under development. The company has 14issued patents and 54 patent applications. We estimate that the market for our Security Semiconductor alone may exceed $2 billion annually.
7. PPTshare James Ontra, CEO(212) 213-1710 Fax: (212) 937-5257james@pptshare.com
PPTshare is a pioneer in Presentation Management software; a newly recognized business communications and ECM category that fosters better, faster,compliant presentations within an organization | 584 |
An island counter often ends up seeing more use than a dining room, with the casual setting and proximity to the kitchen – and in urban homes, island counters are usually the de facto dining space. Since you would be having most of your meals there, we thought it prudent to assemble the most inspiring island counters we have seen recently to give you some ideas.
To frame the projecting dining surface, a faux archway is integrated over this island counter and laminated in a dull shade of greyish brown to complement the neutral palette of the décor. Besides being a purely aesthetic feature, this framing structure provides a point from which other decorative features such as pendant lights can be hung to personalise and illuminate the space.
With an abundance of space to spare, this centrally positioned island counter is given a countryside treatment – with its sides panelled in vertical wood planks and whitew<|fim_middle|> in mirrored panes acting as support. The opaque and black accompanying stools serve as the visual foot of the island counter in bold contrast with the reflective surroundings and the white countertop.
The minimalist nature of this island counter can be spotted in the use of a single narrow length of wood plank to serve as the functional surface and black pipes in the wine rack and stool legs. The location of this island counter – in what was apparently once a doorway, adds to its minimalist personality. | ashed to mirror the decorative faces of the cabinetry and the backsplash of glossy white tiles. The panelling on the sides of the island counter is echoed in dark brown with the addition of a pair of matching bar stools, while lighting is provided by a pair of simplistic shaded lamps in white to adhere to the prevailing palette.
So as not to interrupt the visual expansion of the kitchen by way of the reflective wall, this island counter is supported by a converging pair of steel box pipe legs and kept slim with a simplistic panel of wood laminated in matte white to match the surrounding cabinetry. The implied mobility of this design reduces the visual weight of the island counter, rendering it as a diminutive and centrally located fixture in this compact kitchen.
The conventional design of this island counter is given a twist to fall in line with the use of natural materials in this conjoined dining and kitchen space. While the island counter's functional surface is formed out of engineered stone in plain white to contrast against the natural shades and lines in the surrounding surfaces, the decorative face is rendered in bare cement to catch the array of shadows thrown by the legs of the accompanying stools.
Even with an island counter of conventional design, it is possible to apply the simple repetition of colour to achieve a cohesive décor imbued with meaning. The decorative face of this island counter repeats the pale green of the backsplash, producing a swathe of greenery that appears as foliage when viewed in combination with the minimalistic bar stools in dark wood. The message is punctuated with an assortment of floral decorations situated at the base of the island counter's projection.
The centrally located island counter appears to float in a sea of reflective surfaces – a slab of engineered stone in white projects from the end of a false wall, with a sleek triangular foot covered | 360 |
Posts Tagged 'only lovers left alive'
Jim Jarmusch: Rock-n-roll vampires are just like you and me!
Published May 4, 2014 Movies & TV Leave a Comment
Tags: gulliver's travels, jim jarmusch, jonathan swift, luggnagg, only lovers left alive, voyage to laputa
The rock-n-roll vampires of Only Lovers Left Alive are among the most explicit audience wish-fulfilment surrogates in the history of fantasy filmmaking. Usually we have to exercise our imagination to vault ourselves into the exalted realm of our superhuman heroes. In our self-flattering daydreams we are always the mutants of the X-Men, the aliens of Avatar, the wizards of the Harry Potter world, never the ordinary clods who misunderstand and persecute them. It's the fantastic element that prevents our identification with these demigods from becoming embarrassing. We feel a bit sorry for people who take their hero-worship so far as to actually learn Na'vi or participate in real-life Quidditch matches.
But Adam and Eve are exactly the sardonic, sexy misfits that the kind of people who go to Jim Jarmusch movies imagine themselves already to be. They make a fetish of old audio equipment and accoutre themselves in fabulous thrift-store chic. They're saddened by pollution and they sneer at the anti-intellectualism of common rubes. They're totally cool with gays. I'm pretty sure given more time with these characters we would eventually hear them endorse open-source software, the 100-mile diet, and public funding of the arts. Somehow these immortals have lived for at least half a millennium without accumulating any wisdom, or on the other hand carrying forward a single prejudice, that would challenge the belief system of the modern-day indie moviegoer. Isn't that kind of boring? In the food court outside the theatre I could've found a dozen real people more fascinatingly estranged from the modern world than these ostensible relics of Elizabethan England.
In one of<|fim_middle|> even in the course of an ordinary lifespan, the world changes so much that a senior citizen finds himself feeling like a stranger in his own country. The vampires of Only Lovers Left Alive are no more alienated than the average struggling art student, but they wear their wisp of outsiderdom like a burqa. This happens to be one of the behaviours that old people find most irritating in young people. Am I incriminating the movie, then, or myself, when I say its immortals strike me as rather callow? | the latter, lesser-read chapters of Gulliver's Travels, Gulliver finds himself in the land of Luggnagg, where he is told of the existence of certain people called Struldbrugs. These citizens, born now and then to ordinary mothers, have marks on their faces that indicate they will never die. Gulliver exclaims that these Struldbrugs must be the happiest people alive. When asked by his surprised hosts to elaborate, Gulliver paints a picture of wise and temperate sages passing their eternities in philosophical conversation with their fellows and freely offering the King the benefit of their accumulated knowledge. This discourse provokes much laughter. He learns that in fact the birth of a Struldbrug is regarded as a terrible omen. That these unfortunates age and suffer from disease just as we do, only they persist forever in their decrepit state, resenting and envying their countrymen who can look forward to the relief of death. The Struldbrugs are "opinionative, peevish, covetous, morose, vain, talkative, but incapable of friendship and dead to all natural affection". After the age of eighty or so they lose interest in the world and stop learning new things, and eventually, as the language mutates and they fail to keep up, they find themselves unable to communicate even with their fellow citizens, let alone Struldbrugs born in earlier ages.
Jonathan Swift's insight here was that | 304 |
Use of melatonin as an adjuvant therapy in neonatal sepsis
Authors: El Frargy, M.a; * | El-sharkawy, H. M.a | Attia, G. F.b
Affiliations: [a] Department of Pediatric, Faculty of Medicine, Tanta University, Egypt | [b] Department of Clinical Pathology, Faculty of Medicine, Tanta University, Egypt
Correspondence: [*] Corresponding author: Dr. Mohamed S. El Frargy, Department of Pediatrics and Clinical Pathology, Faculty of Medicine, Tanta University, Egypt. Tel.: +20 01005171750; Fax: +20 0403343396; farargy2009@hotmail.com
Abstract: OBJECTIVE: The objective of this study is to evaluate the therapeutic efficacy of melatonin as an adjuvant therapy in treating neonatal sepsis. PATIENTS AND METHODS: A prospective clinical trial study was conducted on 50 infants with neonatal sepsis diagnosed on the basis of both clinical and laboratory criteria. Enrolled infants were divided into two groups. Intervention group (n = 25) received melatonin and antibiotics, while the control group (n = 25) was treated with antibiotics only. Melatonin was administered as a single oral dose of 20 mg and antibiotics were administered according to a standard protocol. Both groups were compared using a predefined sepsis score utilizing both clinical and laboratory parameters. RESULTS: There was no significant difference in sepsis score between both groups before starting melatonin (p-value = 0.99), while there was significant difference in sepsis score between groups after 24 hours, 48 hours and 72 hours of starting melatonin with (p-value = 0.008, 0.006 and 0.002, respectively). There was significant improvement sepsis score in both groups with more improvement of sepsis score in the<|fim_middle|> melatonin as an adjuvant therapy in the treatment of neonatal sepsis is associated with improvement of clinical and laboratory outcomes.
Keywords: Neonates, bacteremia, melatonin, premature
Received 4 August 2014
Accepted 23 June 2015 | intervention group. CONCLUSION: Administration of | 8 |
ParkChamp is a participating startup in Batch#4 of The Accelerator; Tackling the daily challenge of finding a parking spot just got easier.
INTERVIEW with Maggie Young, Alex Chalamova, and Darnell Shinbine.
ParkChamp is a technology startup based in Calgary focused on automated parking management, operations, and payments in order to improve the overall parking experience for drivers and increase revenues and efficiency of parking lots.
Our team consists of three founders that have worked together over the past year and a half to develop and commercially deploy our product. Maggie (aka the hustler), Alex (aka the hipster) and Darnell (aka the hacker) work with an experienced team of advisers in the software, AI and automation space that have either invested or built companies in these industries.
ParkChamp is eliminating parking pains for drivers by allowing them to find parking in seconds, reserve in advance and pay instantly from their phone at the best price. Our five-star-rated App has drivers talking about the ease of use, great pricing and extraordinary customer support.
ParkChamp is reducing parking equipment costs through GPS enabled, secure and infrastructure-less access technology that can be retrofitted to any building in hours. We simplify operations and management through remote monitoring and enforcement, and cashless payments – while also increasing revenues and optimizing under-utilized space through real-time availability and dynamic pricing. Our app uses data-driven insights to improve efficiency and provide metrics and trends to every property tracked in real-time.
We noticed the gap in the market by personally experiencing parking pains as drivers and researching the experience of transient parkers. We realized an opportunity to enhance the revenues of commercial parking lots by transforming static parking rates into dynamic rates and displaying real-time availability - something that is not currently offered to commercial parking lots.
4. What is your company culture?
Our company motto is - " If you don't do it, then you won't do it." We are focused on getting things done - we don't hesitate, we calculate and deliver. We disrupt the status quo by solving problems with technology always with a customer-centric focus today. We work as a team - always. We value open communication, incentivizing, and challenging each other to continuously improve performance.
Our experience at The Accelerator has been great so far. We have had the opportunity to work alongside like-minded entrepreneurs and get connected with mentors and investors. We've been able to address our business challenges in an open, safe environment and learn from others facing similar challenges. One of the best parts of The Accelerator was attending Base Camp where we learned how fundraising works from an investor's perspective alongside what startups can do to successfully raise money and get the most out of it.
The biggest lesson we learned is the know-how when it comes to raising money. We chose this Accelerator because we were unsure of how to start, how much to raise and where to go to find funding. We've had multiple opportunities to practice our pitch through bi-weekly founders' dinners that each has a special guest offering feedback. We are more confident<|fim_middle|> We developed proprietary access technology so drivers can securely and instantly access any underground parkade through the App. The parkade is currently sold out every day and both our drivers and property managers love the simple and flexible solution.
We are expanding our partnerships in the automation and smart technologies space that will add to our current value and product offering. ParkChamp is opening a seed-round for investors wanting to join us on our journey in order to continue new developments and expand our business to additional markets.
Please contact us! We'd love to chat. | now than we were ever before with the direction we will take with our business, how to get there and how to navigate that journey.
A major milestone for us in 2018 was launching the first underground parkade on ParkChamp in downtown Calgary. | 53 |
Prepar<|fim_middle|> | ations underway for the Junior Livestock Competition and Sale at the Montana State Fair
(GREAT FALLS) The Montana State Fair has many traditions, and one of them is the annual Livestock Competition and Sale.
"I've been a part of 4H for six years. And this is my third show," said 15-year-old Sydney Kostecki.
"It's one of the best 4H shows in the state," junior livestock superintendent Mike Vanek said.
For months, members have been raising steer, pigs, goats and lambs. All in anticipation, leading up to the big week at the fair.
"If you spend a little bit of time here and watch the kids, it's a competitive event. They all want to win, but there's a lot of friends around this barn. Everyone comes here and enjoys it. We try to keep it relaxed. It's neat to see the kids having fun and smiling," Vanek said.
This week will bring nearly 200 members and their families to the state fair from across the state.
"It's a barnful, I don't know the exact count, but it's a lot," Vanek said.
Vanek has an 11-year-old son in the program named Tanner. Tanner says he enjoys working with livestock and having the opportunity to showcase them.
"You have to take care of them or they are not going to be good cattle if they are not worked every day," Tanner said. "Practice showing them, making sure they have hair and not slick sheer. Slick sheer is okay, but it just doesn't look as good cause you have to take care of their hair every day. You have to take care of them every day."
"For me, it's just getting to this point and raising the animals as well as they can and getting them to look as best as they can. And just competing with everybody from all over the state and meeting new people," Kostecki said.
Vanek says it goes way beyond the kids raising animals.
"This is our economy in a nutshell. These kids are Montana farming and ranching. It was built on that and these kids are the future of that. It's really cool to see it continuing," Vanek said. "Other places in the world it's going away, but it's definitely a huge part of our traditions in communities here in Montana."
The members will showcase their livestock Wednesday and Thursday. Winners will be announced Thursday night.
"It's a really cool event watching the kids get their buckles and ribbons," Vanek said.
The live auction will take place Friday night.
"If somebody wanted to come down and purchase an animal from these kids who have worked so hard, we have a social at 4 p.m. and the sale at 5 p.m." Vanek said. "We just really want people to come down and support the kids and watch it."
You can click here for the full schedule . All activities take place in the Pavilion at the Montana State Fair.
"It's a lot of work. They're not your typical fair-going kids. They do try to get to the Midway and the concerts, but this is a priority," Vanek said.
4H Livestock competition and sale
Some animals are camera shy, some are not. I went to the Montana State Fair where 4H kiddos were prepping their animals for the annual livestock competition and sale! That story at 5:30!
Posted by Elizabeth Transue on Tuesday, July 30, 2019 | 721 |
The subtle sounds that English speakers have trouble catching
The "p" in pit, is not the same as the one in spit
byJames Harbeck
You've probably noticed how speakers of some languages can't seem to tell certain sounds apart. As a result, they can confuse<|fim_middle|> lazy v's. That little difference is how the Dutch tell apart wat (what) and vat (barrel or grip). What? Oh, get a grip.
The glottal stop
It's common in English to reduce a "t" in many places to just a glottal stop. We often do it at the end of a word such as butt or what, especially at the end of a sentence — check to see if your tongue tip actually touches when you say it. In some British accents, you hear the glottal stop even in the middle of a word such as butter. We also sometimes use a glottal stop at the beginning of a word next to a vowel, not to represent "t" but just for a crisper sound. But in many languages around the world, that glottal stop is a phoneme in its own right.
You'll find this in Hawai'ian and several other Polynesian languages. Hawai'ian is an especially interesting case because, while it treats a glottal stop as a distinct phoneme, it doesn't make a difference between "t" and "k" — it treats them as the same sound, and when you see a k in Hawai'ian it could be said as "k" or "t." So when you see maka, which means "eye" or "face," it could also be said "mata." But when you see ma'a, which means "accustomed to," it's like "ah-ah" with an m to start — never like "mata."
Creaky voice
There's a popular hate-in lately for what may have heard called "vocal fry" — that creaky or clicky drawling voice sound that many people make when lowering their voices or trailing off at the end of a sentence. Phonologists usually call it creaky voice or creaky phonation. If it bothers you, just imagine if a whole set of sounds in your language required it. There are languages like that! Jalapa Mazatec, a language from Mexico, actually has a three-way distinction: a vowel can be normal, or creaky, or breathy — think of Marilyn Monroe. So, for example, normal já means "tree," breathy já̤ means "he wears," and creaky já̰ means "he carries." It's as if the same word sung by Britney Spears and Madonna meant two completely different things. (Which it may anyway, come to think of it.)
Merriam-Webster's 2021 word of the year is 'vaccine'
Words Words Words
The lost art of being reasonable
Damon Linker | word pairs such as wet and vet, beat and bit, thin and tin, or long and wrong.
But have you noticed how you do the same kind of thing? You and everyone who speaks English?
It's not simply that there are some sounds we don't make in English. It's that there are sounds we actually make, but we think they're the same as some other sounds. Here's your guide to some pairs of sounds that other languages treat as different sounds, but we in English treat as the same — and may not even hear the difference.
Pit vs. spit
Perhaps the most classic example in English of treating two different sounds as the same sound without even noticing it is a thing linguists call aspiration. When we say a voiceless stop — "p," "t," "k" — at the very start of a stressed syllable, we say a puff of air after it. If we say it elsewhere, we don't — even if it's at the beginning of a syllable but just has an s before it. Try this: hold your hand or a piece of tissue in front of your mouth. Say "pit." Notice a puff of air after the p? Now say "spit." No puff. Say "happen." Also no puff. And yet we think of the p with aspiration (the puff) and the one without it as the same sound — they're what linguists call allophones of the same phoneme (a phoneme is something that's thought of as a distinct sound in a given language).
In Mandarin, Thai, Hindi, and several other languages, they don't think of those two p's as the same phoneme. They use different letters for them, and the difference is often represented in Latin-alphabet transliteration by writing an h after the aspirated one. For example, in Hindi, phal (that's p as in pit plus al as in dual) means "fruit," while pal (that's p as in spit and otherwise the same) means "moment." Those two words are what linguists call a minimal pair: the only thing that tells you which one you're hearing is that one difference between phonemes.
Front and back versions of u/oo
If your reaction to discovering allophones is "Duuuude! That's so cooool!" you may have just given an example of what linguists call free variation. Sometimes instead of saying the u in dude like the one in nuke or the oo in cool, we say it farther forward in the mouth, more like "dewd," perhaps in imitation of some stereotypical "surfer dude" accent. We can hear the difference, but we don't think that this "dewd"-like version is a different word from the one we say like "dood." But if we spoke French, German, or any of several other languages, we would see those as two different vowels. In French, that difference in vowel sound is the only difference between, for example, au dessus (on top) and au dessous (underneath).
The three l's
Know what else is cool? Like, really cool? And maybe a little vulgar? How about a three-way...distinction between phonemes, that is. The l in cool is not the same as the l in like, and neither of them is the same as the l in vulgar. When we think of an l we think of the one at the start of like, with the tip of your tongue touching near the front. But when it's at the end of a syllable, as in cool, the back of your tongue arches up a bit at the same time. And when it's before a consonant that touches at the back, as in vulgar or balcony, we very often don't even touch the tip of the tongue to the palate, so it's more like a w without the lips being rounded.
Who makes a distinction between these? I don't know what language uses all three, but quite a few languages make a distinction between at least two of them. In Irish Gaelic, leag (the e is silent and just indicates which l is being used) uses the like one and means "knock down," while lag uses the cool one and means "weak." In Sm'algyax (also known as Coastal Tsimshan), a language of northwestern British Columbia and southern Alaska, ts'aal uses the like one and is a verb meaning "filet fish," while ts'aaẅ uses the vulgar one (represented by ẅ) and is a noun meaning "guts."
The lazy v
Another free variation we have in English is what we might call the proper versus lazy way of saying sounds such as "v." If you read that popular catering company slogan "Savor the flavor" but say it quickly or lazily, you may not quite touch your teeth to your lip on the v's. Well, guess what: if you were speaking Dutch, you'd be saying a different letter. Dutch v is like English v, though sometimes they say it as "f," but Dutch w isn't like English w (except in some dialects); it's like those | 1,064 |
Sweet ice cream tacos, and salty caramel ice-cream with bacon and waffles—anything imaginable!
So what's an ice cream taco? It's a waffle cone stuffed with ice cream of various flavours, then dipped into milk, or white chocolate, and<|fim_middle|>. Pop tart ice cream sandwiches are an alternative to traditional cookies. Other delicacies include donut ice cream sandwiches, macaron ice cream sandwiches, and finally custom ice cream sandwiches.
If you happen to visit Toronto in summer, make sure to try at least some of these extraordinary delicacies. | covered with any imaginable toppings from caramel to whipped cream and sprinkles.
One of the weirdest delicacies is a sweet-and-salty ice cream sandwich named "swalty." This salted caramel ice cream topped with bacon, caramel sauce, and rock salt is served with waffles.
Another similar delicacy is called Vatican on Ice: a scoop of French vanilla ice cream is placed between two grilled cheese sandwiches. If you like tried and true things, the Everything cookie stuffed with the once famous PB and Grape Jelly ice cream will be a nice choice. However, today's ice cream occurs in a variety of more unusual flavours, like for instance, burnt toffee, and corn on the cone ice cream. If you're a vegan, there is an option of dairy-free ice-cream as well. Other similar sweets include 24 types of home-made gelato brioche, which is actually ice cream served in a delicious bun cut in half | 190 |
I had been given a box of wonderful goodness fresh from the garden! The tomatoes were still warm from the sunshine… AWESOMENESS!!
So I began searching for something new to do with the jalapenos. Finding new recipes is a favorite pass time of mine! I used to collect recipe books, but with the internet options we have now, I just don't anymore. There are SO many to pick from on the "web" I get lost sometimes, but this time I was on a mission. I was searching for a healthy jalapeno popper recipe and a light bulb went off in my head…. shove those ingredients into a chicken breast "pocket" and bake till golden!
Jalapeno Popper Chicken was born! I started out by cutting in half and pounding out a chicken breast. so that both sides are about the same thickness.
To that, I added a couple of tablespoons of Aldis goat cheese that I had softened. Now I know that jalapenos were the star of the box of goodies but the goat cheese is the star of the recipe. I only use the goat cheese you can find at Aldis. I have tried some other brands (much to my disgust)… but the little log at Aldis comes in 3 flavors: Plain, which tastes a lot like cream cheese. Honey, which is slightly sweet and great with fruit. And a Garlic Herb blend, that I think needs a little salt to bring the flavors out in it. I use the plain for this usually.
Now is when I start layering on some flavor. I sprinkle a little sea salt on the goat cheese and then add sliced jalapenos and a tablespoon of your favorite cheddar cheese, or even a Monterey Jack.
Top with the other piece of chicken and then the other 2 tablespoons of cheddar cheese. On the 21 Day Fix our blue container is 1/3 cup of healthy fats. That breaks down to 5 tablespoons and that is why I measure this<|fim_middle|> have any plain goat cheese, but I DID have some honey goat cheese and so I played that up. I added a little more honey to the red jalapeno layer I had that day and then just cooked it normally. I served it with a honey-chipotle sauce poured over the top of it. (3 parts honey to 1 part adobo sauce) It was awesome and had the real sweet heat flavor I was looking for! Almost too much heat but the goat cheese helped tame it down thank goodness. For those of you who don't like heat, skip the jalapenos and just use green bell pepper.
Top with the other half of the chicken and 2 Tablespoons of grated cheese.
Line a baking dish with foil and spray with olive oil spray.
Bake at 350 degrees for about 20 min. Turn the broiler on and toast the top cheese till you are happy with the color and ENJOY!
Multiply by as many servings as you need.
I hope to come up with some more cool jalapeno recipes. If you have any ideas, let me know!
an AWESOME deconstructed guacamole salad was a perfect accompaniment! | recipe in "tablespoons' per 1 serving. I almost always make these in single serve portions but you could make as many as you wanted to and freeze them individually or serve them to your family!
I recently wanted to make it but I didn't | 52 |
Creeping Revolution 2
18. Jan 2003<|fim_middle|>), Frances Stark (US)
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find exhibitions in | 16. Mar 2001
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artists & participants
Bas Jan Ader, Sture Johannesson, Silke Otto-Knapp, Mathilde Rosier, Wilhelm Sasnal, Frances Stark, Lily van der Stokker
Creeping Revolution 2 continues a series of experimental exhibition and project models that Rooseum has tested over the past 2 years. Creeping Revolution 2 is a group exhibition of artists whose work is primarily visual and seeks to affect the world through personal illuminationand individual experience, often reflecting on immediate friends and familyrather than society as a whole. In some ways it can be seen as an opportunity to consider the flipside of the socially engaged documentary work that has been shown in Rooseum over the past six months. However, any idea that this is a return to a reactionary position must be dismissed. It is a case of maintaining both social and personal change (even revolution) as equally significant aims for contemporary art. To define the work in the exhibition as revolutionary is to suggest that the way art makes change possible is at least as much in the head as it effects actions on the street. To modify it with the term creeping is to provide a measure of the speed and accuracy of its effect, as well as introducing the slowly changing methodology of the exhibition itself.
Creeping Revolution 2 takes its lead from an exhibition organised by Foksal Gallery, Warsaw in 2000. In that exhibition a number of artists worked on the walls and floor of the small white cube space, being invited over a period of one month to add to works already in the gallery. Creeping Revolution 2 takes a similar approach, inviting artists for the opening and then adding or changing work over the period of the show. The idea is to encourage viewers to return and compare from one stage to the next, allowing them to see different stages as the exhibition is built up. Also we hope to encourage the artists to see their work in connection with each other and possibly respond to elements in another's work. Finally, this way of making a show will push the usual boundaries of the institution with its desire for stasis and preservation and continue the institutional experiment of the new Rooseum.
If the current vogue for documentary and analytical art is to thrive it needs intelligent, interesting critique from other angles. If, at some point in the future, we are to avoid a simplistic swing back towards dumb expressionism, we should think about how to balance analysis with imagination, the political with the personal, change in society with expanding revolutionary consciousness. Creeping Revolution 2 by starting a discussion about work that is aesthetically rather than overtly politically engaged, seeks to raise that debate and contribute to an understanding that beauty, friendship and the personal can be revolutionary too. Pressetext
only in german
mit Bas Jan Ader (NL), Sture Johannesson (S), Silke Otto-Knapp (D), Mathilde Rosier (F), Wilhelm Sasnal (PL), Lily van der Stokker (NL | 644 |
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Trans Fats
Brush Your Teeth Twice Daily
Gardening May Help Your Brain
Mother's Day, the 50th Anniversary of the Pill
Cutting trans fats from processed and restaurant foods really did make them healthier, an advocacy group said. The study focused on 83 foods that were altered since 2006, the first year U.S. food labels were required to list trans fats. It's also when New York City launched its trans fat ban for restaurants. Researchers looked at labels, industry brochures and government nutrition data. They checked trans fat and saturated fat totals for the old and revamped products. Nearly all of the new versions had little or no trans fat. Some contained more saturated fat. But most did not. For about 65% of grocery products and 90% of restaurant foods, saturated fat levels were lower, the same or slightly higher than before. The research findings were reported in a letter to the New England Journal of Medicine.
Alcohol consumption in early pregnancy increases levels of a little-known lipid called ceramide, significantly increasing suicide among cells critical to skull and brain formation, according to a report in Cell Death and Disease. Resulting neural crest damage includes the brain's "skin" – the multi-layered meninges that provides protection and nourishment – producing less TGF-β1, a growth factor critical for brain and bone development. That finding may help explain the cranial bone and cognitive defects that can result in fetal alcohol syndrome.
Good personal hygiene is a basic element of a healthy lifestyle. People who fail to brush their teeth twice a day are putting themselves at risk of heart disease, research suggests. A Scottish study of more than 11,000 adults backs previous research linking gum disease with heart problems. It is known that inflammation in the body, including in the mouth and gums, has an important role in the build up of clogged arteries, which can lead to a heart attack. In addition to brushing your teeth twice daily, if you want to help your heart, you should eat a balanced diet, avoid smoking and drinking alcoholic beverages and do regular exercise.
Mice given peanut butter laced with nanogram quantities of an antigen, extracted using special techniques from common, harmless soil bacterium, ran through mazes twice as fast and enjoyed doing so. Peripheral immune activation can have profound physiological and behavioral effects including induction of fever and sickness behavior. One mechanism through which immune activation or immunomodulation may affect physiology and behavior is via actions on brainstem neuromodulatory systems, such as serotonergic systems. It was found that peripheral immune activation with antigens derived from the nonpathogenic, saprophytic bacterium, Mycobacterium vaccae, activated a specific subset of serotonergic neurons in the interfascicular part of the dorsal raphe nucleus (DRI) of mice, as measured by quantification of c-Fos expression following intratracheal (12 h) or s.c. (6 h) administration of heat-killed, ultrasonically disrupted M. vaccae, or heat-killed, intact M. vaccae, respectively.
Polio has virtually disappeared from the West but is entrenched in the Indian continent (mostly in Afghanistan, India and Pakistan), and in Nigeria, where rumors about the vaccine's safety resulting in a year-long suspension of polio campaigns in 2003. The disease mostly hits children under five and is spread via dirty water. But recent surprises, like an outbreak in Tajikistan, which had been free of the disease for years, show how unpredictable the effort remains. WHO says it is still possible to get<|fim_middle|> estradiol valerate in combination with dienogest, for specific days of the 28-day cycle. A world without "the pill" is unimaginable to many young women who now use it to treat acne, skip periods, improve mood and, of course, prevent pregnancy. They might be surprised to learn that U.S. officials announcing approval of the world's first oral contraceptive were uncomfortable.
May 9, Sunday, the Mother's Day, was the 50th anniversary of that provocative announcement that introduced to the world what is now widely acknowledged as one of the most important inventions of the last century. The world has changed, but it's debatable what part the birth control pill played. Some experts think it gets too much credit or blame for the sexual revolution. After all, sex outside of marriage wasn't new in 1960 AD or in 3000 BC. The pill definitely changed sex though, giving women more control over their fertility than they'd ever had before and permanently putting doctors - who previously didn't see contraceptives as part of their job - in the birth control picture. But some things haven't changed. Now as then, a male birth control pill is still on the drawing board.
And it didn't eliminate all unwanted pregnancies either. Nearly half of all pregnancies to U.S. women are unintended and nearly half of those end in abortion, according to the Guttmacher Institute, which has gathered data on abortions for years. The pill is often associated with the women's movement of the 1970s. But the two feminists behind the pill, the ones who provided the intellectual spark and the financial backing, were born a century earlier, in the 1870s.
As suffragists worked for the vote, renowned birth control pioneer Margaret Sanger distributed pamphlets with contraceptive advice and dreamed of a magic pill to prevent pregnancy. http://www.chicagotribune.com/health/la-sci-pill-20100504,0,5247187.story
Polenta is made most commonly with yellow cornmeal. You can also use white cornmeal, and some recipes call for buckwheat. The final texture of the polenta will depend on the grind of the meal, from fine to coarse.
1 Heat a pot of water to a boil. The rule of thumb is a 3-to-1 ratio by volume of water to polenta.
2 Add a teaspoon of salt to the boiling water.
3 Using regular, medium grind yellow cornmeal, slowly stir in the polenta with a whisk or wooden spoon.
4 Continue stirring with a wooden spoon, nearly constantly, scraping the bottom of the pan to prevent it from sticking and burning. The whole process takes about 45 to 60 minutes, and the polenta is done when it's thick and wavy and it starts to pull away from the sides of the pan.
http://www.chicagotribune.com/features/food/ct-food-0526-prep-polenta-20100526,0,1229043.story
Notice: This material contains only general descriptions and is not a solicitation to sell any insurance product or security, nor is it intended as any financial, tax, medical or health care advice. For information about specific needs or situations, contact your financial, tax agent or physician.
Source: The primary sources cited above, New York Times (NYT), Washington Post (WP), Mercury News, Bayarea.com, Chicago Tribune, USA Today, Intellihealthnews, Deccan Chronicle (DC), the Hindu, Hindustan Times, Times of India, AP, Reuters, AFP, womenfitness.net, about.com etc.
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Vepachedu Educational Foundation, Inc Copyright Vepachedu Educational Foundation Inc., 2010. All rights reserved. All information is intended for your general knowledge only and is not a substitute for medical advice or treatment for special medical conditions or any specific health issues or starting a new fitness regimen. Please read disclaimer.
Om! Asatoma Sadgamaya, Tamasoma Jyotirgamaya, Mrityorma Amritamgamaya, Om Shantih, Shantih, Shantih!
(Om! Lead the world from wrong path to the right path, from ignorance to knowledge, from mortality to immortality and peace!)
One World One Family
Mana Sanskriti (Our Culture) Journal (MS)
Disclaimer Solicitation | rid of polio and that to give up now would set loose a deadly virus.
Experts worry that as the effort enters its 22nd year, donors' patience and wallets are running thin. Sustaining the effort costs about $750 million every year. The Bill & Melinda Gates Foundation, one of polio's top donors, could not say how long they plan to bankroll the effort, but said the next three years are "critically important." The foundation said their polio donations are reconsidered every year.
Bayer HealthCare Pharmaceuticals, Inc. announced that the U.S. Food and Drug Administration (FDA) has approved Natazia (estradiol valerate and estradiol valerate/dienogest) tablets for the prevention of pregnancy. Natazia has not been evaluated in women with a BMI of greater than 30 kg/m(2). Natazia is the first and only oral contraceptive that contains an estrogen called estradiol valerate and a progestin called dienogest. Estradiol valerate is a synthetic estrogen that is converted to estradiol in a woman's body. Natazia is expected to be available in the summer. Until today, all marketed combination oral contraceptives (COCs) contained ethinyl estradiol. With the FDA approval of Natazia, Bayer HealthCare Pharmaceuticals becomes the first company to launch estradiol valerate together with the progestin, dienogest. Women using COCs, including Natazia, should be strongly advised not to smoke. Smoking increases the risk of serious cardiovascular side effects from COC use. The risk increases with age and the number of cigarettes, especially in women over 35 years old. Natazia is taken once a day. The dosing regimen consists of pills with varying doses of estradiol valerate, and | 386 |
Seen a product cheaper elsewhere on a UK website? We'll beat that price by 10% giving you the guaranteed lowest price possible. We also match<|fim_middle|> refunded. | the price of EU sellers. Simply fill out the price match form on the product you are interested in and we will get back to you swiftly. Please note the 10% price beat does not apply to sale items.
Non-scratch neoprene inserts designed to improve the Termoscud adherence to the bodywork and prevent chafing on the bodywork.
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You will then be able to place the order through the website or over the phone and get the difference | 201 |
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New products are coming | sprinkler operation + aerial work as an integrated new equipment
"FULONGMA" brand new green spraying vehicle is a multifunctional sanitation vehicle newly developed by Longma Sanitation. Provides a new type of equipment integrating sprinkling operation + aerial work for garden greening and urban road maintenance. The truck has the functions of watering, greening and watering, 360° rotating high-altitude lifting, greening pruning, and high-altitude maintenance work platform.
The high-altitude operation function consists of a slewing mechanism, a boom, and a hanging basket. The gondola is driven by the boom slewing mechanism to achieve 360° omnidirectional rotation.
The hanging basket can be raised to a maximum of 10 meters through the expansion and contraction of the three-section boom. The bottom of the vehicle has front and rear support legs to ensure the safety of operation. The hanging basket is equipped<|fim_middle|> working angle range. It can be used to spray objects of various heights and can remove some sanitary dead spots that are not easy to clean. The high spray gun can be rotated 360° left and right, and the gun body can be operated up and down. Turn the adjusting sleeve on the front of the gun body forwards and backward to adjust the spray shape of the water gun (column or mist) and close the water gun. The high spray gun is controlled by a manual ball valve, which can be opened and closed arbitrarily during work, with a range of not less than 50 meters, and an auxiliary fire-fighting function.
This product is widely used in cleaning operations of urban roads, highways, squares, ports and docks, and watering operations of green belt plants. The optional rear-bottom spray system can be used for spraying and dust reduction operations; the optional left and right flower watering devices can realize the green watering on the left and right sides of the road. The vehicle has multiple functions and multiple uses.
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Configuration and working prin… | with a balance bar to ensure that the operator is always parallel to the ground when working and is equipped with a safety rope to ensure the safety of the operation.
The operation of the wireless remote control can be used to operate the boom. The operating speed of the remote control can also be preset with the maximum current and the minimum current to control the movement speed of the boom within an appropriate range.
The high-range water spray gun is an aluminum long-range water gun, which is installed on the rear of the vehicle body. It is flexible to operate and has a large | 113 |
Earn your next job behind the stick by writing a neat bartender resume. To stand out from the crowd, use the work experience field to highlight your past achievements made while working in restaurants, bars, clubs, hotels, and other food service and drinking establishments. Under highlights, consider adding skills such as excellent communication skills and quick service. While there are no formal education requirements for bartenders, include any special training, awards or recognition you've received. Be sure to mention, too, if you are a certified food handler. For more resume ideas, take a look at our bartender resume example.
Create an eye-catching bartender resume with the help of our resume examples. The samples below cover everything you need in your own resume, from entertaining guests to handling food and drink<|fim_middle|>. You want to show off your skills and accomplishments in just a glance.
4. )Do highlight accomplishments. You want to show how you differ from others with similar career experiences, so highlight how you stand out.
5. )Don't lie. While you want to look different, you absolutely do not want to lie. | orders. It's last call for a great resume, so check out the examples below and get hired faster.
Searching for jobs as a bartender requires sharp job-seeking skills perfectly coupled with the right attitude. These tips can help you handle the rigorous job search process and possibly find the perfect position.
1. )Use your determination. Job-hunting is a long and difficult process, and it may be tempting to give up or get lazy. Instead you want to make sure that you are staying on top of things and powering through. Follow up on positions and rigorously search for positions anywhere and everywhere.
2. )Tap into your imagination. This is absolutely not the time to set aside your creativity. You want to think outside the box as you search for positions. Perhaps there's a new position that uses your skills but is outside of your past employment or perhaps there are unique ways to find positions not found on traditional postings.
3. )Exude confidence. You alone are responsible for your career journey, and it is important that you have the confidence to take steps in the right direction. Do not rely too heavily on the advice or help of others. In the end, you need to make the decisions that are best for you and your future. Don't let other's opinions influence you too heavily.
4. )Channel Optimism. This will be a long rough journey, and it can be tempting to be brought down by gloom and doom. However, resisting the pessimism and doing your best to stay optimistic can help you stay on the right track. The more you have faith you will find the right position, the more likely you will be able to.
5. )Be conversational. You never know when the right opportunity will come along. The more conversations you start with new and different people, the more you expand your network circle. Simply talk to anyone and everyone you can.
Your resume is an essential piece in finding jobs as a bartender, and it can make or break your success. Use these do's and don'ts to help you create a resume that increase your chances of an interview.
1. )Do think about using a unique resume lay out. This will help your document stand out against the rest.
2. )Don't create an unreadable resume. While you can be a little creative, you want to make sure your resume is consistent and easy to read.
3. )Do provide a sharp focus in the resume | 491 |
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