text:
More than 50,000 very wise viewers who visit this site each month may want to buy what you're selling. Ad Director Suzanne (Sue The Dream) Nicolucci is a friend of ours and she's waiting to make you an offer you can't refuse.
By Jerry Capeci
Ray's Pizza Won't Be The Same
It's the end of an era.
Luchese mobster Ralph (Raffie) Cuomo, (right) who founded the original Ray's Pizza in 1959 and still manages the place, is going to prison for using his landmark Prince Street pizzeria to sell heroin along with pies.
Cuomo begins a four year sentence next month in a sweet deal that was an accommodation to the 62-year-old mobster, who recently underwent back surgery and suffers heart disease and diabetes.
He admitted only to using the pizzeria's telephones to discuss drug sales with fellow mobster Frank Gioia Jr., but Cuomo's been running a lucrative heroin business out of the pizzeria's basement for decades.
Former Luchese acting boss Alfonso (Little Al) D'Arco (left) told the FBI that Cuomo often conducted business meetings right below the pizza ovens. "In the basement," said D'Arco, "there are actual tree limbs holding up the beams of the building. These trunks have a polished finish to them."
Cuomo opened Ray's three years after he was caught red-handed during an armed robbery of a swank Park Avenue eatery. He was arrested and pistol whipped by cops who shot and killed his partner.
In 1969, he and three cohorts were nabbed with 50 pounds of high quality heroin worth $25 million and convicted of trafficking.
Despite suspicions, and numerous investigations by the NYPD, the FBI and the DEA, there was no official heroin stain on the Ray's Pizza name - one that has been copied by many other New York establishments - until Gioia cooperated with the feds.
In numerous discussions with investigators, Gioia described how he and Cuomo would meet at Ray's Pizza to arrange $100,000 purchases and perform lab tests of the heroin they were distributing.
During one meeting, according to Drug Enforcement Administration reports, an excited Cuomo exclaimed: "The samples were dynamite! I want two units (about three pounds)."
The total cost of the two units was $204,000 and the men made a profit of $36,000, Gioia told the DEA. Cuomo took part in many heroin sales from 1989 to 1993, and had several discussions with Gioia about moving into the cocaine trade but no coke deals materialized, according to Gioia. Rather than go to trial, Cuomo copped a plea to a four-year bit.
At sentencing, lawyer Scott Leemon asked Manhattan Federal Judge Allan Schwartz to give Cuomo less than the agreed upon four years because of his client's numerous, documented, medical ailments.
Assistant U.S. attorney Jeffrey Zimmerman objected, noting that Cuomo was well enough to travel to the Meadowlands Racetrack the previous night and argued that prison would be less stressful than a night at the races.
Schwartz said a short prison stint might be the "best thing" for Cuomo, recommended he be designated to a prison hospital in Minnesota, and told him to surrender Nov. 3.
Gang Land Contest
There's only a few more days left to enter Gang Land's fourth contest, which tests your knowledge about the mob, movies and music.
The rules are simple as usual: One guess per person, via e-mail, of course. Anyone caught submitting more than one guess will be rubbed out - with all entries eliminated. Deadline is Nov. 1.
There are three prizes. First prize is an autographed copy of Mob Star: The Story of John Gotti. As most readers know, the book is one of the favorite mob books of Andy, Gang Land's organized crime historian. (Those are his hands holding Mob Star at the right.) It is also out of print. But we have a soft cover copy and it's up as first prize. Autographed, of course.
Second prize is a copy of Murder Machine, also by Gene Mustain and yours truly. Third prize is an autographed copy of Gotti: Rise and Fall. In case of ties, prize winners will be selected at random.
Just to be different, and difficult, there are six questions, each worth the same 15 points. Question No. 2 has a 10-point bonus part. Good luck.
1. Name the singer who originally had the Frank Sinatra-like role of Johnny Fontaine in "The Godfather" but backed out fearing a negative reaction? Hint. He had a top ten hit with "On The Street Where You Live."
2. Name the Canadian singing group that sang at the August 1956 wedding of Salvatore (Bill) Bonanno and Rosalie Profaci. For extra credit, name the group's three top ten hits at that point in their career.
3. Name the night club singer who became a comedian and a Las Vegas fixture noted for his "insult" humor after a Chicago gangster orchestrated a disabling attack on him in 1927.
4. Name the Colombo capo who prevented Morris Levy, the Genovese family backed head of Roulette Records, from muscling in on the Shangri-Las after the group had a No. 5 hit with "Remember" (Walking In The Sand) and a No. 1 with "Leader of the Pack" in 1964.
5. Name the hit song by Mickey and Sylvia that typified the relationship between Robert DeNiro and Sharon Stone and was playing when they first met in the movie, "Casino."
6. Name the three top ten hits that Jay and the Americans had while Jay Black, who sang at a couple of weddings of John Gotti's kids, was the group's lead singer.
Prosecutors will start scraping the bottom of the mob barrel today as two brothers go to trial charged with the attempted murder of an unthreatening woman in one of the low points in the history of the American Mafia.
Luchese mobster Michael (Baldy Mike) Spinelli (right) and his brother Robert are charged with taking part in the shooting of Patricia Capozzalo, a mother of three who was attacked outside her Gravesend, Brooklyn, home.
The Spinellis allegedly plotted to kill Capozzalo in an effort to keep her brother, Peter (Fat Pete) Chiodo (left), from testifying against Luchese leaders. She was stalked for a month before she was shot twice in a parked car after she dropped her kids at school on Mar. 10, 1992. She is believed to be the first woman targeted by the mob in a move to keep a witness from testifying.
The Spinellis categorically deny the allegations - more about that later - but the fact that the mob singled out Capozzalo for death is undisputed.
The key prosecution witness in the case is none other than Dino Basciano, a onetime wannabe mobster who pleaded guilty three years ago to firing several shots at the terrified woman.
Basciano said he had agreed to do a "piece of work" for his mob superiors before he knew Capozzalo was the target. When he learned, Basciano said, "there was no backing out."
He described how he and Michael Spinelli followed her as she drove her kids back and forth to school, never being able to get a clear shot without the children or her neighbors getting in the way.
The day before he shot at her, Basciano recalled, there were a "couple of kids coming down the stoop. We let her go."
"The next day," said Basciano, "she came down the block. She didn't park in front of the house, she parked on my side. I was on the passenger side. I told Michael, `Lock her in.' (We) had ski masks on, (I) had a pistol with a silencer inside a bag, and when I got out, she looked at the van. She didn't notice me coming on the side, and the van got close. She looked .... and spotted me and she tried to move the car. I shot her through the window. She went down. She went to put her head underneath the dashboard. She was screaming. I shot again. The silencer cracked, broke off. The thing I was holding it, I was shooting it. I hit her one more time and bullets were going all different ways."
Robert Spinelli, who completed a 56 month sentence for drug dealing last month, allegedly was part of the murder conspiracy along with his brother and mobsters who are either dead, like Gregory Cappello, (right) or jailed for other crimes, like Richard Pagliarulo (left).
Michael Spinelli, who pleaded guilty in 1994 to racketeering and murder charges in return for a 22-year sentence, refused to admit guilt in the assault on Capozzalo then even though his jail term would have been the same.
"He didn't have anything to do with it," said his attorney Ephraim Savitt.
Lawyer Scott Leemon said the same thing about Robert Spinelli.
Prosecutors Elizabeth Lesser and Daniel Dorsky will use Basciano, Chiodo, Gioia and Luchese associate Corrado (Dino) Marino to try and prove otherwise during the next four weeks or so in Brooklyn Federal Court.
His "I Spy" defense kept the jury out for three days, but in the end, Gregory Scarpa Jr. (right) would have been better off taking the 17 years the feds offered him to plead guilty to racketeering and murder charges.
A Brooklyn Federal Court jury convicted the 47-year-old Colombo mobster Friday of six counts of racketeering, loansharking, illegal gambling and tax fraud.
A dejected Scarpa was acquitted of five gangland murders, but in the end, the gangster, who has been jailed since 1988, faces about 90 more years for his conviction, which includes four murder conspiracies.
Defense lawyer Larry Silverman said he will ask for leniency at sentencing because Scarpa cooperated with the FBI and spied on World Trade Center bombing mastermind Ramzi Yousef while they were cellmates.
"We strongly believe that he prevented serious harm to people, both government officials and others," said Silverman, adding that he will appeal the verdict.
ASK ANDY
It's the end of an era. This is Andy's last week as Gang Land's resident organized crime historian. After a brilliant 18-month run, Andy's going off in some other direction. As Gang Land ponders how to replace the irreplaceable Andy (We're up for suggestions from reader/viewers.) here's his last effort for Gang Land, a reply to a multi-part query from Bill Montgomery who asks: "What is the current status of the Louisiana Mafia? What is factually known about ties between Carlos Marcello and Jack Ruby? Any truth to several recent accounts of a planned war against East Coast families by Marcello and Santo Trafficante, Jr.?"
In 1996, New Orleans boss Anthony Carollo and underboss Frank Gagliano were convicted of a variety of racketeering charges. Both men were long time members of the New Orleans La Cosa Nostra family and their downfall has relegated the operation to a minor league level. There's no way they could win a war against Canadian bikers, let alone the New York mob.
Carollo's father was the family boss prior to the reign of Carlos Marcello. Carollo was caught with Marcello, Carlo Gambino and about 10 other high ranking mobsters at an Italian restaurant in Queens, New York in 1966. Dubbed Little Apalachin by the media in deference to the major 1957 mob conclave that took place in Apalachin, NY, the mobsters were probably caught at the eatery after a Commission meeting that was held elsewhere.
As I've stated previously, I give no credence to claims that La Cosa Nostra had anything to do with the assassination of President Kennedy. The desperate attempts to link Jack Ruby and Lee Harvey Oswald to the Mafia would be laughed out of court. However, it makes great reading for conspiracy buffs and the uninformed. For a more in-depth analysis, I suggest CASE CLOSED by GERALD POSNER.
As I have said before, an extensive FBI bugging and wiretapping attack on La Cosa Nostra from the late 1950's into 1964 picked up nothing, absolutely nothing to indicate a murder plot. There were a few mentions that some mob guys hated the Kennedys, but nothing to suggest an assassination plot. Furthermore, the FBI had some high placed informants during that era and they reported nothing. A Mafia role in the Kennedy killing is just not there.
Email Jerry Capeci: editor@ganglandnews.com
Copyright, Jerry Capeci, 1998


text:
Helmut Bertalanffyinihannover2018-09-10T13:22:26+00:00
Vascular Neurosurgery
Clinic for Vascular Neurosurgery
Dr. Bertalanffy is Professor of Neurological Surgery and Director of the Center for Vascular Neurosurgery at the INI – International Neuroscience Institute®, Hannover, Germany. He received his neurosurgical training from the Albert-Ludwigs University of Freiburg im Breisgau, Germany, where he completed with honors a Medical Doctorate in 1986 and obtained the qualification as board certified neurosurgeon in 1990.
Dr. Bertalanffy spent more than 2 years from 1990 to 1992 at the Department of Neurosurgery of the Keio University, Tokyo, Japan, as a Scientific Fellow of the Alexander-von-Humboldt Foundation, Bonn, Germany, and the Japan Society for the Promotion of Science, Tokyo, Japan, working in the fields of cerebral and spinal microcirculation and skull base surgery.
He served as vice chairman of the Department of Neurosurgery of the Technical University of Aachen, Germany from 1992 to 1997. The Friedrich-Wilhelm Foundation of the Technical University of Aachen honoured Dr. Bertalanffy with the "Friedrich-Wilhelm" Prize in 1994 given annually for outstanding scientific work.
In 1997 Dr. Bertalanffy was appointed to Professor on a permanent basis by the State of Hessen, Germany, and served as Professor and Chairman of the Department of Neurosurgery of the Philipps University of Marburg for 10 years. In July 2007 he was appointed to Chairman of the Department of Neurosurgery of the University of Zurich, Switzerland, where he served three and a half years in that position. In November 2010 he accepted the new position of Director of the Center for Vascular Neurosurgery at the prestigious INI – International Neuroscience Institute® in Hannover, Germany.
Dr. Bertalanffy is frequently invited to meetings or congresses as guest speaker or to visiting professorships worldwide and has made significant contributions to developments in skull base surgery and microsurgery of vascular lesions of the brain and spinal cord.
Dr. Bertalanffy is a member of the German and Swiss Societies of Neurosurgery, the German Academy of Neurosurgery, the American Academy of Neurological Surgery (corresponding member), the World Academy of Neurosurgery, the Skull Base and the Nominating Committees of the World Federation of Neurological Surgeons (former Chairman of the Nominating Committee), the International Advisory Board of the American Association of Neurological Surgeons, the Academia Eurasiana, and an honorary member of the Romanian Society of Neurosurgery.
He is the Editor-in-Chief of the scientific journal Neurosurgical Review and lends his expertise to the Editorial Boards of Neurosurgery, Acta Neurochirurgica, Techniques in Neurosurgery, Neurologia Medico-chirurgica and Zentralblatt für Neurochirurgie.
Dr. Bertalanffy has published over 150 articles in peer reviewed journals, contributed over 50 book chapters or other articles to medical texts, and presented more than 300 lectures as visiting professor or at various congresses and symposia worldwide. He is married and has 2 daughters.
Prof. Helmut Bertalanffy, MD
bertalanffy.office@ini-hannover.de

redpajama_set_name: RedPajamaCommonCrawl


the safest, most efficient products, while creating a culture of rigor and results.
Our first priority is and always will be safety. Our focus is the many individual subsystems that make up the whole of the air traffic and surveillance domain. These subsystems must work in tandem, without conflict, at all times. This ever evolving landscape requires attention to detail, careful tracking, and the utmost consideration of how each works to protect those in the air and on the ground.
Without proper systems engineering, high costs can be incurred as the result of duplicate or missing functionality. Combine these issues with the increased use of automation in air traffic control systems and the ever growing demand of our skyways, and we're met with the task of creating systems which can efficiently and successfully share data with one another.
To achieve the greatest trackable gains, we work to create a results-oriented culture. This requires establishing participation of the people and processes that make up the organization's infrastructure. A company wide acceptance of objectives, costs, and benefits of the system is required for total success. Once in place, continuous refinement and reinforcement will become necessary to maximize the system's benefits.


text:
On 25 August 1919, the company used DH.16s to pioneer a regular service from Hounslow Heath Aerodrome to Le Bourget, the first regular international service in the world. The airline soon gained a reputation for reliability, despite problems with bad weather, and began to attract European competition. In November 1919, it won the first British civil airmail contract. Six Royal Air Force Airco DH.9A aircraft were lent to the company, to operate the airmail service between Hawkinge and Cologne. In 1920, they were returned to the Royal Air Force.[7]
–	Any advice on where to go after for around 5 nights? Back to Naxos (we didn't really move from the town last year unlike in Paros where we rented a car and saw the whole island)? What about Folegandros? Tinos? Milos? We would like somewhere with a nice town to walk around, upmarket, more couple less family, nice bars and things to see during the day bit also nice beaches etc?
Most of Croatia's beaches are pebbly or rocky, but Rab is one of the few islands that has golden sandy beaches to enjoy. The most famous beach is Rajska or Paradise Beach, and this is where you will find the most visitors during the summer months, as well as families. On the other hand, the mountainous interior of the island is ideal for walking and exploring the landscapes. The beaches, however, are the main pull.
The busiest and hottest months. If you like beach parties and packed clubs then Mykonos is the place to be. The less-busy islands (Antiparos, Sifnos, Ikaria, Folegandros, Milos) have short tourists seasons and this is when they're fully open and running. Santorini, Crete, Rhodes, and Corfu are in peak-season but all are large enough to retain their charm.
The United States, Australia, and to a lesser extent Brazil, Mexico, India, the United Kingdom, and Japan have "deregulated" their airlines. In the past, these governments dictated airfares, route networks, and other operational requirements for each airline. Since deregulation, airlines have been largely free to negotiate their own operating arrangements with different airports, enter and exit routes easily, and to levy airfares and supply flights according to market demand. The entry barriers for new airlines are lower in a deregulated market, and so the U.S. has seen hundreds of airlines start up (sometimes for only a brief operating period). This has produced far greater competition than before deregulation in most markets. The added competition, together with pricing freedom, means that new entrants often take market share with highly reduced rates that, to a limited degree, full service airlines must match. This is a major constraint on profitability for established carriers, which tend to have a higher cost base.
Analysis of the 1992–1996 period shows that every player in the air transport chain is far more profitable than the airlines, who collect and pass through fees and revenues to them from ticket sales. While airlines as a whole earned 6% return on capital employed (2–3.5% less than the cost of capital), airports earned 10%, catering companies 10–13%, handling companies 11–14%, aircraft lessors 15%, aircraft manufacturers 16%, and global distribution companies more than 30%. (Source: Spinetta, 2000, quoted in Doganis, 2002)
I think it depends on where you live when it comes to expensive holidays, and what sort of accomodation you want. I'm from London and went to the Maldives in oct 2010 2 wks all Inc, £1150. Which was a bargin as previous years I been to Spain spending over £100 day on food and drink etc. I went to the addu atoll on the island of gan which is the most southern chain of islands. The hotel was everything I could have dreamed of, it wasn't posh or extravergant but who cares when ya in the Maldives. Another great reason to go to the addu atoll is that when the British were there they built bridges and causeways connecting the south and west islands which means u can get on a bike and go and meet the locals, they were so friendly and I recomend the addu atoll to anyone !!!!!
Argostoli is the capital on the mid-west flank of the island and is not really a destination itself, that moniker falling to the contiguous beach scene running from Lourdata south eastward to Skala. While development might have caught up here by now, it should still be a pleasant beach scene and focus for a relaxing stay. The Melissani Cave on the east coast is a must attraction and while it can be visited on a day excursion from anywhere on Kefallonia the two villages or Agia Efthymia and Poros are low-key 'resorts' pulling in a regular crowd of travellers and may warrant a look-in. The port of Pesada (just west of Lourdata) is the home of the local ferry to Zakynthos (Zante).
Drop-dead gorgeous Fiji is a filmmaker's dream. Spy its Mamanuca island chain in Cast Away and Survivor; ogle its Yasawa archipelago in the 1980 version of Blue Lagoon. A dizzying amount of natural beauty — from mountains and mangroves to rivers and reefs — swathes Fiji's 333 islands, and awe-inspiring wildlife (whales, sea turtles, dolphins, parrots) is the icing on the cake. For scenery with a side of luxury and exclusivity, reserve a bure (villa) at one of Fiji's numerous private-island resorts.


text:
Only 19 percent of the ocean has been explored
The ocean covers over 70 percent of the Earth's surface and it plays a crucial role in aspects such as temperature regulation, weather changes and most importantly supporting life development. Actually 70 percent of the oxygen you breathe is produced by the ocean, through phytoplankton.
Ever since the Nippon Foundation-GEBCO Seabed 2030 Project was launched in 2017, we are currently standing at 19% of the Earth's ocean surface being surveyed to efficient and more reliable modern standards.
The importance of exploring the ocean.
In the past, humans have been sent to explore the deepest part of the ocean, which is the Mariana Trench in the western Pacific Ocean. The first record was set in 1960, where an exploration crew spent 20 minutes in deepest ocean floors. Later in 2012 film director James Cameron, an ocean enthusiast himself, set a new record by visiting the Mariana Trench in a vertical torpedo submarine. Although human exploration would provide better and more direct feedback towards achieving new discoveries, there are many difficulties that arise such as deep sea water pressure and high costs, making it a counter effective option.
Deep ocean studying could be a source of new discoveries that would help us address some of our global problems such as climate change. Exploration of the ocean induces discoveries, but in order to explore first we must perform accurate seafloor mapping.
Mapping the ocean provides an idea of what sits beneath the surface and is an extremely helpful tool for deep sea exploration. The entire ocean floor has already been mapped using satellites, however, this data only provides general non detailed maps of what can be found. Important features and objects still remain undiscovered. Imagine opening your eyes at the bottom of the sea without goggles. You would be able to guess forms and figures, but not have an accurate depiction of what's in front of you, let alone a mile away.
Modern high-resolution technology such as multi-beam sonar systems provide a much greater detail.
Sonar technology
Sonar technology (Sound Navigation and Ranging) is a more precise method of mapping the ocean because sound waves travel farther than radar or light waves in the water. Nautical charts (maps that show the shore and seafloor structure) are developed using mostly sonar tactics nowadays and help identify dangers and objects under the sea surface as well as mapping the seafloor.
Sonar can be performed by remotely operated vehicles which are attached to a vessel or also performed by autonomous underwater vehicles. These self driven vehicles gather samples and footage and have allowed a more detailed examination, reaching places still unexplored by human kind.
With sonar technology, around 19% of the ocean floor has been mapped to date. However, to achieve higher resolutions, sonar detection must be performed closer to the seafloor.
Recent multibeam map coverage can be explored at GeoMapApp: zoom all the way in to see the tracks of ships that have mapped areas at high resolution.
Better seafloor maps are required to improve the forecasting of climate change. Oceans play an important role in heat movement around the planet and if we want to fully understand how the sea level will rise across the world (thus directly affecting climate change), accurate ocean floor maps will be necessary.
NOAA. How much of the ocean have we explored? National Ocean Service website, https://oceanservice.noaa.gov/facts/exploration.html, updated on 02/26/21.
NOAA. What is a nautical chart? National Ocean Service website, https://oceanservice.noaa.gov/facts/nautical_chart.html, updated on 02/26/21.
Livescience. Mysteries of the oceans remain vast and deep. Livescience website, https://www.livescience.com/14493-ocean-exploration-deep-sea-diving.html, 06/08/11.
SOI. The ocean: haven't we already mapped it? Schmidt Ocean Institute website, https://schmidtocean.org/cruise-log-post/the-ocean-havent-we-already-mapped-it, 03/12/13.
BBC. One-fifth of the Earth's ocean floor is now mapped. BBC website, https://www.bbc.com/news/science-environment-53119686, 06/21/20.


The reason there is a massive housing crisis in the U.S., says Sanders, it is because the priorities are being "set by the wealthiest people in this country and large campaign contributors, not working families."
BURLINGTON, VT — On the third and final day of The Sanders Institute Gathering on Saturday, Sen. Bernie Sanders (I-Vt.) led a panel of experts and advocates to discuss the crisis of, the solutions to, he says, "that gets far too little discussion": the nation's housing crisis.
In an era of unaffordable housing, gentrification, and discriminatory housing policies, the panel conversation explored the "innovative initiatives including land trusts, non-profit landlord ownership and the progress towards fairer housing policies in America."
"I hope everyone here remembers that we are the wealthiest country in the world," Sanders said as he introduced the talk.
And so, he added, after referencing the many billions spent to bail out Wall Street in the wake of the 2008 financial crisis, if there is a shortage of affordable housing—or childcare or other needed social programs—it "is not lack of resources; the reason is lack of political will. And the reason is a set of priorities set by the wealthiest people in this country and large campaign contributors, not working families."
In addition to Sanders, the speakers included: Danny Glover, actor, producer and humanitarian; Brenda Torpy, CEO of the Champlain Housing Trust; and Michael Weinstein, president and co-founder of the AIDS Healthcare Foundation & Healthy Housing Foundation.


Staff Turnover: What Is It Costing You?
The club industry has employee turnover rates in the high double digits, with some clubs experiencing turnover near 100 percent. That means replacing one person for every person hired every year.
Did you ever stop to think what replacing is costing you? The standard costs involved in replacement (e.g., advertising, interviewing, training, new uniforms, etc.) can easily add up to approximately $1,500 to $2,000 per average hourly employee.
And what about the "hidden" costs of turnover? Employee frustration with having to teach more classes because there's a vacant position? Member aggravation because there's no continuity in classes and training? Lack of improvement/ upgrading because you're just focused on the basics? Some statistics show that when we add in all these factors, we could be spending up to two to three times the annual wage/salary of the position we replace. That's money down the drain!
How do we stop the money drain? We need to find and keep good employees! But how and where?
At the Houstonian Club, we have an annual turnover rate of 12.6 percent. We find one-third of our new hires from referrals from our current employees. No one knows the company, the culture and the expectations better than someone who works here. These employees KNOW who will "fit in," who will be dependable, whom they like working with, whom they respect as a professional, etc. Those are the people we want to interview.
Other applicants come to us because they've heard about the Houstonian. Maybe they've read about us in a newspaper article. Perhaps they are deeply involved in conservation and they've learned about our "green team" and their environmental achievements and awards. Or maybe they participated in the bike-a-thon we sponsored to benefit children with cancer. Whatever the reason, they know about our club, like the people, and want to join the team.
Once you've got them, how do you keep them? We do our best to keep employees once they are hired. We do all the basics: competitive pay, generous benefits, great facilities, etc. But we do much more! We offer biannual bonuses to all part- and full-time employees so they may share in our success. All employees have the opportunity to bring their kids to camp for a week (completely company paid). There are parties and picnics and celebrations - all to say "thank you" for working here.
Is it the perks or is it the culture? Our employees tell us they appreciate all the perks, but what keeps them coming in day after day is the culture. We don't have a big thick policy manual; we have a short simple handbook titled The Com-pass. The Compass literally points us in the right direction; the rest is up to each employee.
Our work environment is built on several principles, including respect and dignity for all employees. Everyone has value and we let them know it!
Another thing about our culture: We encourage balance. Everyone has a personal life. We know it. We accept it.
We want people to balance personal life and work life. Leaving early to go to your son's baseball game is supported, not just tolerated.
All of this adds up to an environment people enjoy coming to every day. Employees have personal relationships with other employees and with members. And with less than 20 percent turnover, our employees have time to get to know each other and our members. That makes the members happy too!
In these quick quotes, Gina Allen, director of human re-sources for the Houstonian, of-fers up advice on attracting and retaining employees.
"If you don't have an employee referral program, start one! The best source of future employees is current employees. Ask your employees for referrals and then pay them for the ones you hire!"
"Recognize your employees for their good work. Thank them individually and collectively every chance you get! We all want to work where we are appreciated!"


text:
Home » Posts tagged 'community'
Edgy Listening: Evan Parker and Jean-Luc Nancy
August 24, 2015 6:27 pm / Leave a comment
[This is the draft text of a paper I am set to present at the 2015 Guelph Jazz Festival Colloquium, on Wednesday, September 16.]
The collective trajectory of this year's colloquium links practicing various forms of improvisation to nurturing various forms of intersubjective well-being. By attending—carefully, critically and briefly—to solo and to collaborative electro-acoustic performances by the British saxophonist Evan Parker, I want to gesture at the nascent work of remediation that Lisbeth Lipari has recently called "an ethics of attunement," a close listening that cultivates compassionate alterity within an attentive body: an akroasis—an audition, an audience—that provides a resonant and differential basis for the possibility of what Jean-Luc Nancy has provocatively named an "inoperative community," a version for me of what Alphonso Lingis calls The Community of Those Who Have Nothing in Common, of our conflicted and diverse human species. Nancy's philosophical interrogation of listening to music (as "the art of the hope for resonance") offers contingent conceptual support with which it's possible to assess the sensibly vibrant sounding of interstices, both between and within each human frame, that constitutes Evan Parker's improvising.
Claims about well-being and health tend to presuppose an uninterrogated sense of what constitutes a proper, well-ordered body. Rather than extend a critique of what Michel Foucault might have called the "care of self" and its biopolitics, I am going to premise my remarks on improvisation and well-being by assuming that corporeality may also be understood as porous and conflicted instead of individuated, discrete or holistic, and that this porosity is a founding condition both of co-creativity and of lived community. Reworking a Deleuzean pluralism, Annemarie Mol writes of a medical practice that addresses and heals the "body multiple," which she presents as an "intricately coordinated crowd" that "hangs together" through "various forms of coordination" (55). Following on Maurice Merleau-Ponty, David Abram describes "the boundaries of a living body" as "open and indeterminate; more like membranes than barriers, they define a surface of metamorphosis and exchange" (42). I'm interested in pursuing with some rigour those "forms of coordination"—or the textures of that porosity—at the level of acoustic experience, as a humane and ethically preferable set of cultural interactions.
Lisbeth Lipari proposes "interlistening" as a term for "the multiple dimensions of embodied consciousness that vibrate in the dance of conversation between [among?] people talking" (161). Her aim is to delineate discursive practices that listen otherwise, that attend to the presence of others, even as they enable speech.
"Listening otherwise," she writes,
challenges the ego and the illusion of control and sees how the distortions that arise from our insistence on innocence, certainty, and understanding damage our capacity for compassion. . . . [L]istening otherwise . . . suspends the willfulness of self- and foreknowledge in order to receive the singularities of the alterity of the other" (Lipari 185, 186).
Heavily influenced by Emmanuel Levinas, Lipari also models her auditory ethics on the music theory of Hans Kayser, whose concept of akroasis(the Ancient Greek word for "hearing") articulates a "theory of world harmonics" as a holistic gestalt-series rooted in Pythagorean acoustics (Lipari 27). Kayser appears to mitigate dissonances in attunement, and prefiguresby several decades R. Murray Schafer's disciplined "ear-cleaning" of European music . I'm less sanguine about what I know of Kayser, however; without refusing the hopeful tenor of his thinking, I worry that he only re-instates a cult of primeval innocence, a re-tooled Ptolemaic naïveté. It helps me, instead, partially to recover the etymology of akroasis, which occurs in Aristotle as a term for audience and hearing: notably, not in The Poetics nor in the sections of his Politics focused on music, but in his Rhetoric. The ἀκροατής (akroates), frequently translated as "hearer," is actively implicated in discursive exchange: "Now the hearer (akroatēn) must necessarily be either a mere spectator or a judge (kritēs), and a judge either of things past or of things to come." That is, listening—at least, to speech—is inherently active and deliberative, and those deliberations, within a polytemporal reciprocity, include critical intellection. Akroatic listening, close listening as thinking, becomes more agonistic than syncretic, more unsettling than epideictic. (Compare George Lewis: "In its marginalization, its often-unseen, intangible presence, which generates new discourses, in its mobility and facility with hybridization, and in its locus, the contestatory space where difference can [be] and is enacted, improvisation's general importance to the underlying health of the musical ecosphere and the public commons must be recognized, valued and protected [138].")
In a 2014 interview, Sonny Rollins repudiates any sort of reflexive intellection as disruptive to improvising, invoking the demanding temporality of playing: "I don't want to overtly think about anything, because you can't think and play at the same time — believe me, I've tried it (laughs). It goes by too fast."
http://www.npr.org/player/embed/309047616/309304660Rollins appears to be suggesting that, when you listen to yourself as you play, you lose your through-line, lose the formal sense of your music. But his point, I think, isn't to romanticize or mystify his artistry—he focuses on his lapses, not his genius—but to assess the cognitive velocity at which that agon, that deliberation, can even occur. What Lipari calls compassionate openness wants to happen not as immediacy but on the fleeting lip of the present, closer to reflex than reflexive. Jean-Luc Nancy refers to "sonorous time" as "a present in waves on a swell, not in a point on a line; it is a time that opens up, that is hollowed out, that is enlarged or ramified, that envelops or separates, that becomes or is turned into a loop, that stretches out or contracts, and so on" (13). The challenge, the risk posed by such a hysteresis, is not merely the neglect of what is other—and this is perhaps why thinking about solo music, about the improvised solo, helps us to re-conceptualize otherness as such, not as a condition of the co-presence of individuals but even as a porosity of self, of voice—but also an issue of technique, of the virtuosic coordination of enharmonic singularities as they pass in and out of our membranous bodies. Listening, writes Nancy, "—the opening stretched toward the register of the sonorous, then to its musical amplification and composition—can and must appear to us not as a metaphor for access to self, but as the reality of this access, a reality consequently indissociably 'mine' and 'other' . . ." (12).
I want to read Evan Parker's solo saxophone technique as a crucial instance of this intensely vacillating subjectivity (if that's the right term for a solo voice), of the surging disavowal of self sounding itself. Here is an excerpt of the solo music, recorded without overdubbing, from his 1989 album Conic Sections:
Writing in the early 1990s, John Corbett describes Evan Parker's seemingly linear, monophonic instrument as more of an "assemblage" of body—"[f]ingers, mouth, tongue, teeth, lungs"—and horn—reed, ligature, keys, pads, bell—"constellated in such a way as to break the seeming unity of melodic expression" (82). But in Evan Parker's solo playing, both live and on recordings, those fractures are not ends in themselves, and rather initiate—as what Lipari describes as "challenges" to passive listening—the possibility of tonal and linear multiplication, of what the reedist calls, with measured self-deprecation, a form of "polyphony": "There's a more complex sense of linearity," he says, "to the point where the line folds back on itself and assumes some of the proportions of vertical music, and some of the characteristics of polyphonic music" (qtd. In Corbett 83). Combining circular breathing, cross-fingering, tonguing and biting the reed, Evan Parker is able to generate layers of overtones and nearly-simultaneous contrapuntal arpeggios at high velocity, effectively producing a continuum of cascading choruses from a single breath. But while Corbett is keen to endorse Evan Parker's virtuosity and instrumental mastery, he also notes, as the saxophonist himself does, how accident and uncertainty find their way inevitably into any performance, subverting claims to absolute technique or intention and undermining the "notion of the unitary, intending subject"—that is, of self-expression—in improvisation. As Evan Parker puts it succinctly in a 1997 interview with Martin Davidson, "It's to do with layering stuff that I don't know on top of stuff that I do know." Here, I think, is exactly the looping of self and other, of expressive intention and unruly, noisy sound, that Jean-Luc Nancy describes as listening. Evan Parker's descriptions of his improvisatory practice align remarkably closely with Nancy's philosophical investigations of listening:
It's clear to me that if you can imagine something, you can find a technical way to do it, but if you can't imagine it, whether or not there is a technical solution never occurs to you because there's no need to. So it's very necessary to listen closely to what happens when you try to do things, because usually at the fringes of what you're producing is something that you're not really in control of – that there is a central thing that you are fully in control of, and then a kind of halo of suggested other possibilities which have to come with the central thing that you're in control of, whether it's a wisp of breath escaping from the side of the embouchure, or an overtone that you could push harder, or some key noise which you can't escape. There's always something there, and if you're listening at the fringes of the sound as well as at the centre of the sound, then you can be led to other things and other possibilities.
The collision of self-possessed declamation and open-eared deliberation in what he calls "trying"—and what I'd suggest in fact takes the form of a musical essay—points up the irresolute multiplicity at the edges of extemporaneous sound, its tensile present tense.
https://player.vimeo.com/video/83893846
Roulette TV: EVAN PARKER from Roulette Intermedium on Vimeo.
Gently pushing back at Sonny Rollins, I hear Evan Parker—playing at velocity, going by too fast—as negotiating between an organic immediacy and an akroatic self-scrutiny, as both listening to himself and not in the same breath. Corbett calls this tensioning a form of "research" (85), a science or an intellection, and I'm inclined to agree: this music is, it's my contention, one instance of practice-based research into the possibility of inoperative community. So, to think about community, and to close my remarks today, I want to listen to a recording of a recent performance of Evan Parker's electro-acoustic septet at the Festival International de Musique Actuelle in Victoriaville in May, 2014. Evan Parker supplies a typically ironic sleeve note: "My art of composition consists in choosing the right people and asking them to improvise." He playfully refuses the "rampant egomania" both of the improvising soloist and of the composer, preferring an unregimented collectivity. At the same time, the consistent spatial arrangement of the septet onstage—which can be seen both in the inner sleeve of the VICTO cd and in the video taken of a performance at Roulette in New York City, positions Evan Parker at the centre and apex of the group, facing out like the others but occupying the conductor-leader's chair. There's much to note about this music, but I want to make just a few points. The three laptops to Evan Parker's left are able both to sample and re-figure the live improvisations and to contribute other electronic sound textures—this is the key concept of most of Parker's electro-acoustic groups—which means that the instrumentalist is displaced across the ensemble. On the Victoriaville recording, Evan Parker doesn't initiate the performance, and—if my ears are right—doesn't even enter as an contributing voice until the six-minute mark: not through diffidence or even deferral, necessarily, but as an audible disavowal—silence amid sound—of egocentric voicing: he starts by listening rather than playing. A version of his own solo practice emerges into the swirling sonic layers of the ensemble around eighteen minutes into the performance, combining both self-parody—inserting his long-established unaccompanied voice into the group dynamic, which both pushes the tutti back, but also opens up a series of interstices into which other voices might enter. As a model of community, what the group manages around this moment of solo horn is what Jean-Luc Nancy calls "a mutual interpellation od singularities prior to any address in language," a corporeally-based multiplicitous nudging that, despite the reflective stillness of many of the players onstage – particularly the three at their laptops, who enact the reflexive, deliberative aspect of the music, as opposed to the apparent organicism of the improvisers to his right: the point, for me, is the co-creation of a virtual in-coherence, a playing apart together that inheres in the shared differences among the ensemble members, the byplay between egocentric voice and a yielding to the voices of others. Community, Nancy writes, is not the panacea of delusive "communion . . . nor even a communication as this is understood to exist between subjects. But these singular beings are themselves constituted by sharing, they are distributed and placed, or rather spaced, by the sharing that makes them others" (IC 25). Well-being, as listening otherwise, means neither self-satisfied holism nor ludic conflict, but a sharing that nurtures our mutual unknowing.
Abram, David. The Spell of the Sensuous: Perception and
Language in a More-Than-Human World. New York:
Vintage, 1997.
Corbett, John. Extended Play: Sounding Off from John
Cage to Dr. Funkenstein. Durham: Duke UP, 1994.
Lipari, Lisbeth. Listening, Thinking, Being: Toward an
Ethics of Attunement. University Park: Pennsylvania
State UP, 2014.
Mol, Annemarie. The Body Multiple: Ontology in Medical
Practice. Durham: Duke UP, 2002.
Nancy, Jean-Luc. Listening. 2002. Tr. Charlotte Mandel.
New York: Fordham UP, 2007.
———. The Inoperative Community. Tr. Peter Connor.
Minneapolis: U of Minnesota P, 1991.
July 4, 2012 5:37 pm / Leave a comment
The cheap contrarian tactics that permeate Michael Lista's recent National Post blog entry, "The good in bad reviews," do more to provoke acrimony than to invite the kind of genuine disagreement he appears, in the piece, to crave. To his credit, he has succeeded in provoking me, as a committed reader of poetry (and as someone who worked for a number of years as an associate editor, responsible for book reviews, at a scholarly journal, Canadian Literature), to reconsider what I think a well-crafted review needs to do. "The purpose of a review, good or bad, is to begin a conversation, not to end it," he writes, an assertion that sounds as inherently laudable and reasonable as it is slippery. (I'll come to what I think are some of the buried complexities in such claims in a moment.) He certainly has, well, not so much initiated a conversation as needled me – and, I'm assuming, many other readers – into reactive self-critique: no one, after all, likes to be called out as uninformed or misguided, which is what his short editorial frequently does. (I'm pussyfooting: what I mean is, when Lista declares "Enough of this bulls–t," I can't imagine anybody wanting to admit to themselves that they might be knee-deep in complicity. —Or would they? The rhetorical feint in such "straight-talking" faux-bluntness presumes, after all, that a reader won't be inclined to push back, but prefers to be led, and to be told directly: that he or she likely won't have the temerity to call bulls–t on Lista's bulls–t.) Straight up, his review of reviewing made me mad, which is why I have taken a few days to reconsider what I actually do think, so I won't feel like I'm being pulled, in my own small way, into a non-starter of a debate I'm somehow predestined to lose, and that, really, I don't want or need to have. That's not to say that there isn't a lot to think about, to re-consider and to re-view, here. But I won't have Lista's article setting the terms or trajectories of that discussion: he's wrong, and wrong-headed, and his text should serve as no more than a point of departure, and as an entry into a wider cultural conversation from which, on the evidence of invectives such as this, he has effectively excluded himself.
Lista's piece is occasioned by the re-posting on the CWILA (Canadian Women in the Literary Arts) website of an essay by Jan Zwicky on "The Ethics of the Negative Review," which originally appeared in the fall 2003 issue (no. 144) of The Malahat Review. (Both Zach Wells and Carmine Starnino offered rather mean-spirited rebuttals to this essay some years ago, doing what Starnino calls "speaking truth to stupidity" but which, from my vantage point, only comes off as misconceived and unconvincing harangue. Lista has now joined their sidelined and fading fray, as its new epigone.) It's Zwicky's thinking I really want to engage now, because her essay deserves the sort of careful and considered attention that she invites from herself, poetically, as a reviewer and as a reader of the work of others. But first, I feel like I have to get this Lista business out of the way. The key failing of his meta-review, and what I believe in the end got my dander up, is a lack of strength in the writing. Lista's approach and prose style are consistent throughout; for instance, he gets up a head of steam when he takes on Zwicky's opening mention of Byron's lament that "the critics killed Keats":
Cue the violins, folks. The essay, woozy with Romantic anemia, begins by paraphrasing Byron's idiotic diagnosis that "the critics killed Keats" (Keats died of an infection of the tubercle bacillus, TB), and along its way manages to summon every black-beret cliché about the poetic temperament, so that by its conclusion we can all but smell Chatterton's extinguished candle. And beneath those black berets are the empty heads of red herrings and straw men.
The flippant evocation of "folks" and the pointless correction of Byronic hyperbole with smug fact-mongering point up his attempt to produce a kind of audience solidarity in elitism, the sort of bluster I mentioned above that appears designed to silence rebuttal. More significantly, Lista seems to mistake his own meanness and invective for candour and critical acuity. "Call me old-fashioned," he opines, "but I think the truth sounds beautiful, and there's an intrinsic value in discovering what writers think of each other's work." I don't think this is discovery, nor that the writing evinces even the sort of Leavisite clarity it purports to desire. His version of the Keatsian collision of beauty and truth – a collision that, with considerable philosophical heft, informs much of Zwicky's poetry, it turns out – doesn't convince me; Lista's "truth" needs to be put in scare-quotes, because it presents a narrowness of vision – the hypostasis of a very particular Anglo-American positivism, I'd say – as truth itself, and elides the varieties of aesthetic experience, experiences, in a misdirected yen for what reductively offers itself up as fact, but turns out to be deeply and thoroughly socially and culturally coded: masculinist, old-fashioned and contrived. Zwicky, in the essay confronted in Lista's piece, laments that "we are a culture, perhaps a species, drunk on a narrow notion of assertiveness and virility." It's hard not to see this brief National Post rant as a case in point. (Zwicky has since published a response to Lista, well worth reading.)
So, as I said, I'm using that text as a point of departure rather than as a substantive interlocutor, and I'm happy to leave it behind now. I can't hope to be critically thorough enough in a blog entry such as this one, but I want to take up three issues arising out of Jan Zwicky's take (pace her title) on the ethics of positive engagement, of poetic listening. They're biggish abstractions – truth, gender and community – but they connect in specific and situated ways in what I understand as her poetics. That conceptual ecology also partakes in some of the work being done in and around the CWILA site, as members of and adherents to this loose, emergent collective start to reconsider and reframe – to review – what constitutes a listening community.
Okay: truth. And, notably, truth with a down-case t. It might appear on first pass as if I might be trying to ally Zwicky – and that's my Zwicky, the Zwicky I read, not the real Jan; the poems not the person – with a more relative conception of truth, of truths plural: that cultural and social and biological differences produce a multiplicity, and that it is dangerous and ethically fraught to lay claim to any sort of unified or holistic truth. But, postmodern relativisms are very un-Zwicky; she has, from the outset of her writing career, consistently sought out, not merely alterity, but "Absence,/ Clear, still space where truth might echo" (Wittgenstein Elegies23). Writing wants honesty, clarity, truth. It's important to recognize that this isn't a call for a mere rhetoric of candour, for sounding like you're being direct. Zwicky might not agree, and my reading of her is certainly coloured by her reading of Robert Bringhurst, but I hear Parmenides in these early lines as much as a mystical version of Wittgenstein: that truth has no negative. This Parmenidean ontology isn't anodyne, but instrumental: ex-istence as outward making, as productive, or – in a refabricated and ancient Greek-ish sense – as poetic, poieitic. Absence (and I'm starting to sound like E. M. Forster now) is not non-existence, but opening, an acoustic space (note the "echo") into which attention – particularly poetic attention – can enter. Representation and semiosis – and this is Zwicky's understanding of metaphor, I think – become compiled soundings, resonances. This all might seem a bit murky the way I'm articulating it, but it's important to acknowledge Zwicky's insistence on the laser-like precision of metaphor, its absolutely non-Romantic quality. There is nothing woozy or anemic about her work, ever. At least, there is a precision to which she aspires.
That exactitude, moreover, is not dialectical – not an excrescence of negation – but responsible. That is, it tends to engage its objects, whether textual or material, with both responsiveness and respect. Such responsibility is what I take to be the ethical dimension of reviewing, of the art of reviewing. The conversation, the call-and-response into which the poem or the review enters, is not characterized for her by antithesis – not by "answering" in the Old English sense of and-swerian or rebuttal – so much as by a flexible and porous mode of address, not merely talking to but talking with. This coexistence, which is not passive but interested, seems to me to open up a means to talk about gender that doesn't immediately lapse into antithetical binaries (and so to offer me some sense of why I want to participate in work such as that being done by CWILA, which seeks practically to redress gender inequity in literary reviewing). Gender tends by us all to be understood antithetically, femininity as the negation or contrary of the masculine. But the sort of strength, the virility, that Zwicky wants to offer poetically against narrow negations – to offer as truth – refuses that binary in favour of outward gesture, of the act of opening as constitutive of another, better sense of what gender might be, might become. Like many readers, one of my favourite and much-revisited Zwicky poems is "Brahms' Clarinet Quintet in B Minor, Op. 115" from Songs for Relinquishing the Earth, a meditation on musical meaning, on rural Saskatchewan farmland, and on Johannes Brahms's passion for Clara Schumann. It confronts the erotics of absence, and frames the vital inclinations of one human being for another as the stuff of gender. What I mean is, with its inherently relational declaratives – "That we shall not forget to honour brown / its reedy clarities" – the poem constitutes a mutuality of difference (reductively put, woman to writing man writing to woman) both as honorific and as corresponsive. The promissory syntax – this poem is highly illocutionary, a largely self-constituting speech act – opens into a layered verbal ecology, which I have noted thematically but which can also be seen here acoustically, in the network of phonemic echoes (listen to the rs in the lines I've just cited) and structurally, as a form of hailing or prayer. Tellingly, the poem provisionally ends with a beginning, with a gesture outward from the verbal to the intentional: "That a letter might honestly / begin, Dear beloved." If the poem itself can be understood as a (Brahms-like?) love-letter, still held in abeyance, still virtual and absent, it also prays for, and effectively derives, strength – honesty, clarity, truth – from the relational work of saying itself into existence. Gender, constituted in the beloved, is an opening to mutuality, a beginning.
That's all a bit abstract, I suppose, but it does suggest something about why Zwicky, in her discussion of reviewing, tends to separate the aesthetic and the political: hers is an aesthetics of engendering rather than a gender-politics. But I also think that a case can be made for a politicizing of that aesthetic, insofar as the thoroughly lyric language pushes, I'd say, toward a form of community: not an anodyne, flattened out gathering of allegiances, but community in difference, community as difference, as a sharing of what we don't exactly hold in common, a set of convergences and of divergences. I seem to be tarrying with negatives here, a hazard no doubt of trying to write about alterities. It might be best to understand this promise of community, this community-to-come, as shared listening: listening not as deference or as passive reception but as co-participation in the human. Which, it turns out, is how Zwicky seems to understand the art of the review:
The discipline of the appreciative review is, I believe, among the great unsung arts of our culture. I suspect it remains unsung because, appearances to the contrary, it is not actually a species of speaking, but a species of listening; and our culture tends to regard listening as a passive activity. But listening — real listening — requires that we give over our attention fully to the other, that we stop worrying about who's noticing us, that we let the ego go.
I don't agree completely; I don't accept that the ego disappears in listening, so much as that it collaborates with its others, that it remakes itself amid their echoes. But Zwicky's gesture, at responsive and responsible sharing, sets that conversation in motion.


It's been a long time that I have posted anything. It's because my life is getting way too eventful with this New Year. There are back to back events and meet-ups with friends and family. My near ones are getting married, met few of my closest blogger friends recently. It was lovely meeting Bidisha and Priyanka. We end up buying less things and more chit-chatting. I also received my FAB BAG which was the December edition. I won the FAB bag in Chicsterdiaries giveaway. It was an awesome feeling and completely unexpected. I was wholly and soully waiting for this product SUGAR MATTE AS HELL LIP CRAYON SCARLETT O'HARA. This one product made the whole December FAB Bag too tempting. I didn't know which shade was coming to me. I simply prayed to God whatever will come will be the best for me. And I received Scarlett O'Hara which is a lovely true red.
If excellent coverage and high colour pay-off is what gets you going, you will absolutely love our new Matte As Hell Crayon Lipstick that is available in 4 gorgeous shades to suit your taste & your ever-changing mood! Super long-lasting and highly pigmented so you don't have to worry about constant re-application, this must-have crayon lipstick has a soft texture with a silky matte finish.
Price – Rs. 799 for 2.8 gms and comes with a sharpener.
Packaging – It has a classic black and red packaging. The lipstick is in the form of crayon and also comes with a sharpener which is quite cool. The shade name is engraved at the end of the crayon. The end of the crayon displays the color of the shade which is absolutely true to the shade.
To start with, I love the texture of the lipstick. Its not really matte as hell as it claims but soft on lips. However, we still need to exfoliate our lips before we try such lip crayons. The shade is true red which will suit every complexion and brighten any face. Its not a unique shade at all, since I am a red lipstick hoarder I found a dupe in my stash. L'Oreal Pure Reds Pure Scarleto is an exact dupe. So if you have any of these two you can skip the other. L'Oreal on the other hand is quite pricey so you can surely pick this one. I love how 'pout perfect' my lips look with this shade. The shade is an exact vintage red which looks great on bare face. The texture is soft on application and settles on matte. Stays upto 5hrs on me with eating and doesn't go off without a makeup remover. They are truly pigmented and one or two swipes are more than enough to show up completely on lips. The lipcrayons do not transfer as much as other lipsticks do. They do not have any particular fragrance as such. It can settle in fine lines if we do not exfoliate. I would say pick up this shade incase you don't have a proper red lipstick. Otherwise, go for other shades like Poison IVY which is quite a unique shade.
Recommendation– This is a lovely true red shade. It's not a must have shade incase you have lots of reds. But this is great for someone looking for that Vintage red.


Copyright , West Penn Multi-List, Inc.. All rights reserved.
I'd like some more information about 1011 Bellair Rd, Mckeesport PA. Thank you.
I'd like to request a showing for 1011 Bellair Rd, Mckeesport PA. Thank you.


Dining Room Table For Sale. Luxury 50 Cheap Dining Chairs For Sale Unique Design Bench Ideas Throughout Room Table Inspirations 15. My 40 Yard Sale Dining Room Table Chairs Hymns And Verses Regarding For Designs 8. Dining Room Table For Sale Cheap Tables Used Inside Design 17. Coffee Table Awesome Portable Tables For Sale Gumtree Dining Throughout Room Decorations 11. Kitchen Dining Room Furniture Amazon Com Throughout Table For Sale Decorations 2. Amazing Cheap Dining Room Tables For Sale Ideas Best Inspiration Regarding Table Idea 10. Dining Room Wonderful Used Tables Furniture Sale Throughout Table For Prepare 13.
Dining Room Table And Chairs For Sale Durban Set In Decor 5. Dining Table Pecan Wood Room Maple With Regard To For Sale Prepare 12. Kitchen Dining Room Furniture Amazon Com Within Table For Sale Idea 16. Dining Room Delightful Used Tables Furniture Sale For Table Decor 18. Dining Room Table Sales Gorgeous Decor Sets Round Intended For Sale Prepare 6.


text:
WestHoyle.Com © 2019
Intelligent Golf
Rules & Docs
West Hoyle is a Cheshire Union affiliated Golf Club. Founded in 1939 it plays at Hoylake Municipal Golf Course every Sunday morning with tee times between 07:30 and 08:30
To provide good competitive golf competitiondTo encourage social engagement through competitions
To encourage friendly social environments and events
A Touch of History
WEST HOYLE GOLF CLUB
This photograph shows a collection of Past Captains (from left to right)
LEN WILSON 1947, LEN COOPER 1949, CHARLES WEIR 1950, JACK BASFORD 1954, ROB HILLIER 1951, BILLY CLAYTON 1952, RICHARD J CHESTERS 1953
West Hoyle Golf Club was founded in 1939 when representatives of two golf societies held a meeting at the home of one of their number.
It is known that the larger of the two, The Grange Golf Society, was well established and held their annual 'Musical Evening and Prize Presentation' at the Dee Hotel. Mr R Craig was reported in the local press, as having travelled up from London for just one such occasion. (Mr Craig later became the first President of the newly formed West Hoyle Golf Club). Of the other society, nothing is known, save that it drew its numbers from Hoylake and beyond, whilst the Grange drew its membership mainly from West Kirby. What is known is that at that meeting the two societies agreed to amalgamate.
The purpose of the amalgamation was, it is believed, the aspiration to become affiliated to the Cheshire Union of Golf Clubs. Such an affiliation would allow the new club to set handicaps, which would be universally accepted, (not the case with Society handicaps) and allow the dropping of 'Society' from their title and becoming a 'proper' Golf Club. It would seem that they were forward thinkers among our forebearers. The combined membership numbers ensured that their application to the Cheshire Union was approved.
West Hoyle must be unique as a Club in becoming affiliated to the Cheshire Union in the year of its founding, whilst playing on a municipal Course
So how did the name 'West Hoyle' come about? And how is that we have a lighthouse as a feature of our club badge? West Hoyle could just be an abbreviation of 'West Kirby and Hoylake', and the lighthouse, a reference to the danger of sand hazards to sailors and golfers alike. There is in fact a large sand bank in the Liverpool estuary named 'Hoyle Bank'! Quite whimsical our founders!
Having got off to a flying start, everything was put on hold with the outbreak of World War II. The Captain in 1940, Mr T Bridges, having taken over from the first Captain Mr. C.F.Lancashire, determined that all major competitions should cease for the duration of the War, in deference to all members who were away fighting for King and Country. Mr Bridges and his small committee in fact kept the Club ticking over for the next four years. We are much indebted to this gentlemen.
Since that time, the fortunes of the Club have ebbed and flowed, but West Hoyle and its members have always been at the forefront and solid supporters of new developments in local golfing.
In 1980, the Association of Merseyside Municipal Golf Club Captains was set up. A prime mover in this was West Hoyle Past Captain Mr W.L.Pate, who personally provided the Honours Board for the organisation. The AMMGCC is still going from strength to strength.
In 1985, largely through the initiative of West Hoyle Committee, an agreemment was reached with the leaseholder of the Cafe at the Municipal course, to use what we now know as our Club room; a room which had been unused for many years. Prior to that the Men's room of the Stanley Hotel was traditionally used by members as the "19th Hole" after a game.
In 1998 the lease was in fact taken over by the Clubs using the Municipal Course, under the "umbrella" of The '98Club (our Past Captain, Mr. P. Finlay becoming bar Chairman).
In 1989, West Hoyle's Jubilee Year, we became one of the few Golf Clubs attached to a Municipal Course to finance a Pro-Am Golf Competition for its membership.
In 1990, West Hoyle Golf Club organised, financed and promoted an Open competition, Wirral Borough Council having allowed us full use of the course for the day. With a full field and a prize budget of £1,000 a healthy profit was made. Since 1991 this competition has become known as the West Wirral Open, and is run jointly with Hoylake Golf Club.
In 2004 a Seniors Group was founded within West Hoyle Golf Club. With a membership of 26, the group plays every Tuesday morning - come rain, hail or shine!
It is regretted that West Hoyles initiatives in the 50's, 60's and 70's have not been catalogued, but given the track record of our Club, there must have been several.
As can be appreciated from the above, we as members of West Hoyle Golf Club have much to be proud of -
Long may it be so!


"He didn't give me a date nor location."
Shouldn't it be, "He didn't give me a date or location"?
Of course, she could've written, "He gave me neither a date nor a location."
Browse other questions tagged neither-nor or ask your own question.
Is my usage of 'nor' correct?


I'm a Hoosiers fan, and I would have love to see Indiana win the 1976 NCAA Finals. I think they were arguably the greatest team play, the last undefeated team and had the greatest coach of all time. Definitely my favorite team, EVER!
Sep 6 Jacob Carney, who has an AMAZING Braves story!


Grammy winner Macy Gray dives into politics with Larry, revealing that although she believes Trump is currently bringing America "backwards," she's still attempting to remain "optimistic" about the future of his presidency.
Larry King: Is the current president a backwards step?
Larry King: Would you want to meet him?
Macy Gray: Mr. Trump? I've met Mr. Trump.
Larry King: I've known him for 35 years.
Macy Gray: Really? What do you think of him?
Larry King: He's not a racist. He's not.
Larry King: I don't understand a lot of his presidency, because it's not the Donald I know.
Macy Gray: Yeah. Well every time I saw him, he was out partying, so I don't know. I mean it was back in the day, but like I said, he just has made comments that sound racial, or sound sexist, so you can only go by what people tell you sometimes.
Larry King: Are you optimistic or pessimistic?
Macy Gray: Totally optimistic. I'm someone who hopes he figures it out, or hopes somebody else can step in and take over if he can't, but I'm not wishing him bad. Because if he fails, we all fail. But you know, I just think he doesn't know what he's doing, which is understandable, because he wasn't a politician before. So that is scary, that's my biggest issue with him. But it's also not his fault he got elected, he didn't elect himself, everybody else did.


Jay Disbrow's AROC of ZENITH!
Aroc of Zenith was a weekly Internet comics strip in the tradition of Flash Gordon and John Carter of Mars! Check the Aroc Archive to catch up on Aroc's exciting adventures!
Aroc's adventures have come to an end with episode #312!
The Wedding Ceremony - Episode #312.
Did you know that Aroc has appeared in 312 weekly episodes? Well, you can check them all out in Aroc's Archive!
Who is the mighty Aroc and who are the members of his cast of characters? Jay Disbrow sheds some light on the background of his amazing creation!
Aroc's Archive of Previous Episodes!


text:
A shooting star over Shanghai
Shanghai's new sci-tech Star Market got off to a sparkling debut, but the real lustre for long term investors is in the deeper market-based reforms the new board seeks to advance
by Lynda Zhou and Jackie Chien
ALY SONG
It was all sparkle and shine when the first 25 companies debuted this week on China's answer to the Nasdaq, Shanghai's new science-and-tech focused Star Market. Every stock rose, with first-day trading gains ranging from 80 per cent to over 500 per cent.
But real stars also fizzle and fade - and we think the more meaningful test of the Star Market's success won't be measured by their short-term performance. Instead, China is hoping that by loosening restrictions, the Star Market will help inject more market-based pricing discipline into the IPO process. Despite the fireworks in Shanghai, the real message here is that new listings can go down, too.
If successful, the new board would be one of the most significant developments in China's capital markets in recent years. For decades, many of China's most dynamic companies have sought IPOs on overseas stock markets in New York or Hong Kong. The Star Market represents an overhaul of China's IPO framework designed to lure them back - or entice them not to leave in the first place.
What's different about this market?
Regular A-share IPOs in Shanghai and Shenzhen are approval-based. All new offerings are priced at a maximum of 23 times earnings, are heavily oversubscribed, and most allocations go to retail investors. An initial IPO "pop" is taken for granted among mainland investors: shares commonly rise by the daily trading limit for days or weeks after they begin trading.
By contrast, Star Market IPOs are registration-based. Deals go through a more conventional book-building process to arrive at a market-based valuation. The majority of IPO allocations will go to institutional investors, and there are no hard limits on trading in the first five days - although circuit breakers can lead to a temporary pause in trading. Multi-tiered share structures (such as those favoured by tech companies listing in the US) are permitted, and companies won't be subject to the usual 3-year profitability requirement. Retail investors need to have a minimum level of trading experience and at least 500,000 renminbi (about $72,600) in their broking account.
These are all fairly radical changes for China's capital markets. So too is the speed with which the Star Market was set up - it was only announced last November, by President Xi Jinping during a visit to Shanghai. Other similar innovations, such as the newly launched Shanghai-London Stock Connect, were several years in the making.
For China, the Star Market aims to keep innovative companies at home, but also to help institutionalise and professionalise the country's homegrown equity markets by reducing short-term speculation. Market-driven reforms mechanisms included in the new board's IPO and trading regime are key to this push, but success will require changing mindsets too.
What's next and what does it mean for investors?
As of last Friday, on the eve of the market's debut, 148 companies had filed for Star listings with a combined fundraising target of around 135 billion renminbi, and 28 of them had successfully registered their IPOs with the securities regulator. That compares with more than 3,600 companies already listed in Shanghai and Shenzhen.
To date, only professional foreign money managers can access the companies listed on the Star Market, via their allocations in existing quota programs like the qualified foreign institutional investors (QFII) scheme.
The shares aren't yet open to trading via the popular Shanghai Hong Kong Stock Connect link. But the program may yet become more mainstream. Index provider MSCI has said it is assessing the implementation, trading and liquidity on the new market, and would issue an update on Star's eligibility for index inclusion ahead of a semi-annual review in November.
The Star Market aims to light the way to ambitious changes for China's capital markets. And while it has shot quickly onto the horizon, we think the real test of its success will be in how deeply it can shine among those who are investing in China for the long term.
Market contextShanghaiChinaEquityStar Market
These materials do not constitute a distribution, an offer or solicitation to engage the investment management services of Fidelity, or an offer to buy or sell or the solicitation of any offer to buy or sell any securities or investment product. Fidelity makes no representations that the contents are appropriate for use in all locations or that the transactions or services discussed are available or appropriate for sale or use in all jurisdictions or countries or by all investors or counterparties.
Investors should also note that the views expressed may no longer be current and may have already been acted upon by Fidelity. They are valid only as the of the date indicated and are subject to change without notice.
This communication is not directed at and must not be acted on by persons inside the United States and is otherwise only directed at persons residing in jurisdictions where the relevant funds are authorised for distribution or where no such authorisation is required. Fidelity is not authorised to manage or distribute investment funds or products in, or to provide investment management or advisory services to persons resident in, mainland China. All persons and entities accessing the information do so on their own initiative and are responsible for compliance with applicable local laws and regulations and should consult their professional advisers.
This content may contain materials from third-parties which are supplied by companies that are not affiliated with any Fidelity entity (Third-Party Content). Fidelity has not been involved in the preparation, adoption or editing of such third-party materials and does not explicitly or implicitly endorse or approve such content. Fidelity International refers to the group of companies which form the global investment management organisation that provides products and services in designated jurisdictions outside of North America Fidelity, Fidelity International, the Fidelity International logo and F symbol are trademarks of FIL Limited. Fidelity only offers information on products and services and does not provide investment advice personal recommendations based on individual circumstances.


text:
National centre of music secures Te Ngāk...
Search Entire SiteNewsMeetingsCommunity VenuesPlans & Policies Property SearchCemeteries Search
National centre of music secures Te Ngākau Civic Square building
Wellington City Council, Victoria University of Wellington, and the New Zealand Symphony Orchestra (NZSO) have taken a major step in the establishment of a national music centre that will transform New Zealand's arts scene and inspire future generations.
Artist impression of National Music School
The three parties have signed an agreement which will see the Municipal Office Building (MOB) become part of a national music centre to house the NZSO and the University's New Zealand School of Music – Te Kōkī (NZSM), along with a strengthened and refurbished Wellington Town Hall and the Michael Fowler Centre.
Council will refurbish MOB and lease it to the national music centre for 25 years. With this agreement Council can now progress detailed design and finalise costings.
"This deal is a significant milestone in securing the future of MOB, which is a crucial part of Te Ngākau Civic Square," says Mayor Justin Lester.
"The national music centre will be home to some of New Zealand's best musicians and will inject their energy and talent into the central city.
"It is also planned that there will be a café or retail space on the ground floor, which will help activate and make Te Ngākau even more of a people place.
With the NZSO and NZSM in the area, the precinct is intended to expand enormously with options for public access to music and the arts, lunchtime concerts, public lectures, workshops, seminars and art displays. It will also be home to Orchestra Wellington.
Victoria University of Wellington and the NZSO have launched a campaign to raise at least $30 million towards the fit-out of both the Wellington Town Hall and 101 Wakefield Street.
Professor Grant Guilford, Vice-Chancellor of Victoria University of Wellington, says he is delighted with the encouraging response to the fundraising campaign to date, with 57 percent of the target already raised.
We're very grateful to our leadership gift supporters, who have been so generous, and we look forward to working with others who share our vision.
"We believe the national music centre will provide a real uplift for music and music education in this country – the state-of-the-art teaching, rehearsal, research and performance spaces that it will offer will enable an outstanding education for the next generation of musicians."
NZSO Chief Executive Christopher Blake says the Orchestra is delighted that the Council and University of Wellington have signed the agreement.
"This is a significant step forward for the national music centre, which will include the Wellington Town Hall. The NZSO and NZSM already have close links. Having both organisations under the same roof offers enormous benefits for the Orchestra, students and staff, and new opportunities for us to work together," he says.
Until recently, the 68-year-old MOB was the home for Council staff but it has largely been vacated ahead of noisy and disruptive work on the Town Hall proceeding.


MVP GK of Portugal after the first goal.
Ya'll should stop arguing ,Russia is the host country they probably already bought the cup already so who cares?
P.s:If you're American don't comment on football until you guys stop calling it soccer.??
Who is the Real Men Of the Match?
Why Fifa Shows only that Portugal is playing better?
The Art of football ⚽ exists in latino America and africa ….!
Amrabet man of the match . Not Ronaldo. Just goal ???
That was not a Highlight clip. You showed all chances of Portugal and only 20% of morocco. Great Game from morocco. They play a Really beautiful Football. Not like Iran or Sweden Ego play with Ten men in front of the goal. Really beautiful, brilliant and brave Football. If morocco would have a decent striker they would be One of the 8 best teams in this years world cup.


After the music concerts at Reading & Leeds Festivals in 2015, the legendary group Metallica is all set to create its musical magic in some major cities of the United Kingdom. The group has released numbers of music shows going to take place in October as a part of its Worldwide Tour.
The Metallica UK tickets are available at different ticketing websites. But with thousands of Metallica fans trying their luck to tap on the opportunity of buying Metallica tickets safely, it is somehow challenging for the naive fans to buy tickets for their favorite music band.
Here're some important things that you can follow while booking tickets for the Metallica's UK shows. It is necessary to get ready if you don't want to miss out on the opportunity of booking a ticket without any technical obstacle.
Make sure the device whatever you are using for the booking purpose will not run out of battery.
Check if the selected ticketing website allows you to book more than one ticket. Don't go beyond the number of tickets allowed for each individual.
Avoid refreshing the page frequently. Here you need to be patient while selecting and booking your tickets on the internet.
These are some important points that you should always check thoroughly to make sure you don't come across any technical obstacles while buying tickets for Metallica Birmingham.
Moreover, it is also necessary to check if the transactions are carried out securely through a safe and encrypted payment gateway. Before you go for booking the Metallica tickets, you need to go through the features and tools so as to check if they are advanced to keep up with modern-day requirements.
Started in 1981 by drummers Lars Ulrich, along with vocalist James Hetfield, Metallica music band has become one of the most leading and commercially successful music bands in the UK. By now, the music group has sold more than 100 million music albums globally with some of the best-selling albums like The Black Album.
The band has also achieved an extraordinary position in terms of awards and nominations. The nine-time Grammy Award-winning music band Metallica has earned a number of awards and facilitations for its constant outstanding performance. Its bucket is filled up with 2 American Music Awards and several MTV Music Awards. In addition, the band was inducted into the Hall of Fame in the year 2009 due to its performance and growing popularity with the music fans globally.


text:
About Otor
202123 year ruleolsenwatson
2020 MXGP uncertainty fails to increase anxiety over MX2 23-age rule for Olsen & Watson
MXGP still has to solidify for 2020 but the doubts over the length and breadth of the stalled FIM World Championship has not given cause for concern for the latest round of racers reaching the end of their time in the MX2 class.
For 2021 two factory riders – Rockstar Energy Husqvarna's Thomas Kjer Olsen and Monster Energy Yamaha's Ben Watson – will both need to move into the premier category after hitting the 23-year age ceiling. Rather than worry and harbour disappointment at the stunted end to their stint in MX2 (and with no signs of an extension or year's reprieve from the ruling by promoters Infront Motor Racing and the FIM) both Olsen and Watson are firmly looking ahead.
"Honestly, I have been thinking it and I've had a lot of fun on the 250 but I've also been on the bike a long time. I feel I am more than ready for MXGP," Olsen says.
Watson at Matterley Basin this year wearing the new Troy Lee Designs SE Ultra gear
"I want to move up to the 450, even if they turn around and say the guys who have aged out can have another year," states Watson "although nobody – the teams or riders – know what is really going on at the moment. I'm looking forward to MXGP and my main focus is just to find a good bike."
Both 23-year old riders are MX2 'protagonists'. Former EMX250 European Champion Olsen has finished in the top three of the standings for all three of his Grand Prix seasons and would be considered the top 'draft pick' of the division. Watson has lost two campaigns due to injury but has been a regular presence in the top five of Grands Prix and grasped his first podium trophy in 2018. Both are also over 6ft and viewed as 'tall' for the category compared to diminutive rivals like Red Bull KTM's Tom Vialle, the current championship leader after just two rounds.
Olsen in the start gate at the British Grand Prix. The Rockstar Energy Husqvarna MX2 team are using ProTaper handlebar technology again in 2020
"I've been on the 250 since I was fifteen because I was already pretty big then, so I'm really looking forward to the 450 now," says Olsen, arguably the favourite for the 2020 MX2 crown and now fully recovered from a pre-season wrist fracture that dented his competitiveness at the opening two races. "I want the best out of 2020 and I'm dedicated to that, but I want to try a new class and new stuff in my career."
2020 will be asterisked as the 'Corona Championship' but aside from the shortened schedule the aftermath of the interrupted season is likely to run into 2021. Normally Olsen and Watson should be high on many factories and teams 'shopping lists' and for squads looking towards the next young talent to trouble the MXGP elite. That scenario – and their respective futures – is now unclear.
"I don't think teams are rushing to sign people or they do not have much insight on how it will be for 2021," confides Watson. "If people sign now then it's based purely on past potential and not on recent or developing form: we had two races this year, one was cut short on Saturday because of the rain and the other was a very heavy race. Nobody has a clear view. I think things could be signed really late for 2021."
"If we go onto a 450 without much support then we'll just have to prove ourselves and earn the ride," he adds. "It is a difficult one but I want to go up to the 450 and I'm sure riders like Thomas will as well."
"I still believe that we'll get some races this year, we'll still have a [MX2] championship," stresses Olsen. "Of course, there is the chance that we don't…but things are already changing and there is talk of races happening again in Belgium."
While both are contentedly resigned to the biological clock that is forcing a new direction in their careers, there is little escaping the fact that factory-backed opportunities could be sparse. A natural step for Olsen would be the Rockstar Energy IceOne Husqvarna team, but Antti Pyrhonen's outfit are already focussed on 'talent development' with both Pauls Jonass and Arminas Jasikonis, both just 23 in 2020, on the books. Watson's options at Yamaha could be limited if the three-man factory crew of Jeremy Seewer, Gautier Paulin and Arnaud Tonus slims to a duet for '21. The general MXGP platform tightens further if well-supported satellite teams are forced to evaluate the depth of their investment for 2021. Despite their goals for MXGP action it does mean further disorientation if the rules are briefly changed (and Infront Motor Racing have demonstrated their flexibility with Grands Prix by applying a one-day format to the eventual 2020 events).
"It is hard for us being 23 and not being out on track to prove ourselves to earn that deal for 2021," illustrates Watson. "If I had the chance to stay down in MX2 then it depends on the level of support; for example, If I could stay where I am right now for another year on the 250 then I'd snatch it up. But if the right opportunity came up for a nice MXGP ride – and I could still stay down – then the 450 would be my first choice."
By Adam Wheeler @ontrackoffroad
Photos by Ray Archer @rayarcherphoto
Graduation: MX2 to MXGP
MXGP talk about 2021 Oman opener
Madrid movers: MXGP Images
Copyright 2015 MMA Sport Magazine Theme. Stepfox Development Studios


text:
UCL Urban Laboratory
Professor Ben Campkin
Prof Ben Campkin
Professor of History and Theory of Architecture and Urbanism
The Bartlett School of Architecture
Faculty of the Built Environment
Joined UCL
My research focuses on the processes, discourses, and impacts of urban change. It examines how decline and renewal are articulated and enacted through shifting terminologies and aesthetic tropes, and the involvement or exclusion of different publics. My work spans from early twentieth-century slum clearances, to the large-scale government and property-led regeneration campaigns of the 1990s and early 2000s, to contemporary activism and policy innovations to protect social and cultural infrastructure. These investigations are transdisciplinary, drawing from my background in archaeology, art history, architectural history, geography and urban studies, and informed by my interest in queer studies. With a strong focus on London, my research has also prioritised international comparison. It is driven by a commitment to methodological innovation, crosscutting different media and forms of evidence, and the use of history to positively inform contemporary and future cities.
My monograph, Remaking London: Decline and Regeneration in Urban Culture (I.B. Tauris, 2013), won the 2015 Urban Communication Foundation Jane Jacobs Award (USA) and was commended in the 2014 Royal Institute of British Architects President's Award for Outstanding University-Located Research. I am co-editor of Sexuality and Gender at Home: Experience, Politics, Transgression (Bloomsbury, 2017), Dirt: New Geographies of Cleanliness and Contamination (I.B. Tauris, 2007) and Engaged Urbanism: Cities and Methodologies (I.B. Tauris, 2016). These collections feature emerging and established scholars from across the arts and humanities and social sciences, as well as built environment practitioners and artists.
My current research focuses on queer space and night-time urbanism. I am lead author on two reports – LGBTQ+ Cultural Infrastructure in London: Night Venues, 2006-present (2017) and LGBTQ+ Nightlife in London – that have directly impacted on the Mayor of London's Draft London Plan (2017), Cultural Infrastructure Strategy (2017), Culture and Night Time Economy Supplementary Planning Guidance (2017). This research has been widely reported in the local, national and international media, in over 40 articles and broadcasts, including BBC London News, ITV News, The Architects' Journal, The Telegraph, The Economist, The Guardian and Time Out.
I have a strong track record of leading collaborative transdisciplinary research through funded projects, events and outputs. This includes leading the cross-faculty UCL Urban Laboratory as Director (2011-18) and Co-Director (2007-11, 2018-) and large multi-institution grant applications, e.g. being UCL Co-Principle Investigator for the EU-funded Urban Lab+ International Network of Urban Laboratories. I have been awarded £30,000 Leverhulme Trust funding to host 2 artist residencies. I am a member of the UK Arts and Humanities Research Council Peer Review College (2012-) and regularly conduct reviews for other agencies internationally. I serve on two London Arts and Humanities Partnership Doctoral Training Centre panels.
Teaching summary
Over two decades of teaching in the Bartlett, Ben has contributed to a wide range of degree programmes, from undergraduate to graduate. His educational practice has focused on nurturing innovative transdisciplinary, interdisciplinary and inclusive pedagogies and cross-faculty research-led teaching. Working across professional silos is a major challenge in the built environment sector, noted in recurrent government and professional reports, and this is something that Ben's teaching has aimed to improve. His educational practice is also driven by concerns to address inequalities through attention to gender, sexuality and the decolonisation of curricular, and through local and international collaboration. Recent activities in this area include participation in the Erasmus Mundus EU-funded project Urban Lab+ Network of International Urban Laboratories and co-editing publications such as 'Global Education for Urban Futures', Urban Pamphleteer #5 (with Alfaro d'Alençon et al) and Engaged Urbanism (with Duijzings, 2016). For two years Ben co-organised the UCL-wide Queer Space reading group which has subsequently been formalised as a series of public seminars under the title 'Queer Space Forum', run through qUCL LGBTQ+ Research Network, a network he helped to establish with colleagues from UCL's LGBT Equalities Advisory Group in 2014.
At postgraduate level, with Dr Clare Melhuish Ben coordinates 'Histories of Global London: 1900 to the present 1 and 2' (Term 2 options) under the MA Architecture and Historic Urban Environments. These two interlinked 15-credit modules assess urban heritage as a social, cultural and economic asset in complex multicultural/postcolonial cities. They position the capital's global histories and population flows as central to a critical understanding of its urban heritage and futures. UCL students interested in participating in this module are welcome to contact Ben by email.
Ben also contributes to the MA Architectural History, including seminar sessions for Critical Methodologies of Architectural History, Research and Dissemination, and Representation of Cities.
At graduate level, Ben is MPhil/PhD Director and Departmental Graduate Tutor for the MPhil/PhD Architectural and Urban History and Theory.
PhD, Architecture and Urbanism | 2009
MSc, Architecture History and Theory | 2001
BA, Archaeology and History of Art | 1997
Ben Campkin is Professor of History and Theory of Architecture and Urbanism. He is currently Co-Director of the UCL Urban Laboratory and Academic Lead for UCL East for the Bartlett Faculty of the Built Environment. Ben is Departmental Graduate Tutor and Director of the Bartlett School of Architecture's MPhil/PhD Architectural and Urban History and Theory. He also teaches on the MA Architectural History and Theory and MSc Urban Studies.
Ben is the author of Remaking London: Decline and Regeneration in Urban Culture (I.B. Tauris, 2013), which won the 2015 Urban Communication Foundation Jane Jacobs Award (USA) and was commended in the 2014 Royal Institute of British Architects President's Award for Outstanding University-Located Research. He is co-editor of the series Urban Pamphleteer (2013-) and three anthologies: Sexuality and Gender at Home: Experience, Politics, Transgression (Bloomsbury, 2017), Dirt: New Geographies of Cleanliness and Contamination (I.B. Tauris, 2007) and Engaged Urbanism: Cities and Methodologies (I.B. Tauris, 2016). Recent publications include lead authorship of the reports LGBTQ+ Cultural Infrastructure in London: Night Venues, 2006-present (2017) and LGBTQ+ Nightlife in London (2016), and essays in The Routledge Companion to Urban Imaginaries, Urban Omnibus, Mobilising Housing Histories: Learning from London's Past, Architectural Theory Review, 3:AM Magazine, Forty Ways to Think About Architecture and Camera Constructs: Photography, Architecture and the Modern City.
Since September 2012, Ben has given over 40 invited talks external to UCL, as well as regularly participating in roundtables, workshops and public panels. Recent talks at London cultural institutions have included: HTA Design, London (2017); Science Museum Lates (2017); Oval House Theatre (2016); Royal Academy of Arts (2016); Peckham Festival (2016); British Film Institute, National Film Theatre (2015). Recent invited talks at academic institutions include: TU Delft (2018); New York University in London (2017); Chelsea College of Art (2017); Plymouth University (2017); Goldsmith's College (2016); Queen Mary, University of London (2015); Kamla Raheja Vidyanidhi Institute for Architecture, Mumbai (2015); University of Westminster (2015). Recent conference contributions (keynotes and refereed papers) include: Urbanization Processes and Natural Morphologies, University of the Basque Country (2017, keynote); Going Underground, Birkbeck, University of London (2018); Doing Architectural Research, Department of Architecture, University of Cambridge (2017, keynote); Vanishing LGBTQ spaces, National Trust, Sutton House (2017); Writing Buildings, University of Kent School of Architecture (2016, keynote).
00 44 (0)20 3108 9640 (Ex: 59640)
b.campkin@ucl.ac.uk
https://www.ucl.ac.uk/urbanlab/people/ben-campkin
22 Gordon Street
WC1H 0QB
Insect City
Mapping beyond the palimpsest
Picturing Place
Urban Pamphleteer
Art, Design & Architecture
Heritage, History & Cultures


text:
//------------------------------------------------------------------------------
// <auto-generated>
//     此代码已从模板生成。
//
//     手动更改此文件可能导致应用程序出现意外的行为。
//     如果重新生成代码,将覆盖对此文件的手动更改。
// </auto-generated>
//------------------------------------------------------------------------------

namespace PerformanceTest.Model.EF
{
    using System;
    using System.Data.Entity;
    using System.Data.Entity.Infrastructure;

    public partial class DosORMSqlServerEntities : DbContext
    {
        public DosORMSqlServerEntities()
            : base("name=DosORMSqlServerEntities")
        {
        }

        protected override void OnModelCreating(DbModelBuilder modelBuilder)
        {
            throw new UnintentionalCodeFirstException();
        }

        public virtual DbSet<T_PerformanceTest> T_PerformanceTest { get; set; }
    }
}

redpajama_set_name: RedPajamaGithub