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Briere retires from NHL
PHILADELPHIA - Former Flyers star Danny Briere, known for his standout playoff performances, announced his retirement as an NHL player on Monday after a 17-year professional career that included 973 games.
"After taking a few weeks to think about it, it's time to hang them up and spend a little more time at home with the family," Briere said. "I've been very, very fortunate to have a chance to play with some great organizations, but at this point the family becomes a priority.
"The Flyers are where I played the bulk of my career. I've had a great time in Philadelphia and have been very, very fortunate to have the chance to play here. I would like to thank Mr. Snider, Paul Holmgren and Peter Luukko along with the coaches, staff, the fans and all my teammates. It's been a great ride in an area that I still call home."
Briere, 37, recorded 307 goals and 389 assists for 696 points with the Phoenix Coyotes, Buffalo Sabres, Flyers, Montreal Canadiens and Colorado Avalanche.
The native of Gatineau, Quebec was originally a first-round selection (24th overall) of the Phoenix Coyotes in the 1996 NHL Entry Draft, which came following an exceptional 1995-96 junior season for Drummondville of the Quebec Major Junior Hockey League.
On July 1, 2007, upon the opening of free agency, the Flyers signed Briere to an eight-year contract. He finished second on the team in scoring in 2007-08, recording 72 points (31G, 41A) to help a revitalized Flyers squad rebound from its worst season ever to a trip to the 2008 Eastern Conference Finals.
Briere led the Flyers in scoring that playoff season with 16 points (9G, 7A) as they took out the third-seeded Washington Capitals in seven games and the first-seeded Montreal Canadiens in five games.
Briere lost all but 29 games of the 2008-09 season to a nagging abdominal injury, but still recorded 25 points (11G, 14A) in those 29 games. In 2009-10, Briere put up 53 points (26G, 27A) in 75 games, but his greatest contribution that season came in the team's run to the Stanley Cup Final. Briere led the NHL and set a new franchise record with 30 points (12G, 18A) in 23 games, eclipsing the record of 28 set by Brian Propp in 1987. Four of the 12 goals were game-winners.
The 2010-11 season was Briere's best regular-season performance as a Flyer. He recorded his fourth and final career 30-goal season, putting up 34 goals and 34 assists for 68 points in 77 games while representing the team at the 2011 NHL All-Star Game. He put up another seven goals in 11 playoff games before the Flyers fell to Boston in the Eastern Conference Semifinals. After a 49-point season in 2011-12, Briere put up another stellar playoff performance with 13 points (8G, 5A), including an overtime game-winner in Game 1 of the Eastern Conference Semifinals vs. New Jersey.
Following the shortened 2012-13 season, the Flyers exercised a salary cap compliance buyout of Briere's contract. He then signed with Montreal, where he posted 25 points (13G, 12A) in 2013-14 and had one final impressive playoff run, posting seven points (3G, 4A) in 16 postseason games.
Briere recorded 68 points (36G, 32A) in 62 career playoff games with the Flyers, giving him an average of 1.10 points per playoff game. He is one of just five Flyers to average more than one point per playoff game (minimum five games), joining Peter Forsberg (1.33, 6 GP), Ken Linseman (1.29, 41 GP), Eric Lindros (1.14, 50 GP), and Claude Giroux (1.07, 57 GP). The 68 points rank him eighth in playoff scoring on the Flyers All-Time List, and the 36 goals rank him seventh in franchise history. His nine career playoff game-winning goals rank him second in franchise history behind only Rick MacLeish (10).
Over the course of his entire NHL career, Briere recorded 116 points (53G, 63A) in 124 career playoff games. The 53 goals tie him with Jeremy Roenick and Bill Barber for 45th on the NHL's All-Time List.
Labels: Flyers
Union play to 3-3 tie with Chicago
Chester, Pa. – After Wednesday night´s big win in the U.S. Open Cup, the Philadelphia Union faced Chicago Fire again in PPL Park Sunday night and played to a 3-3 deadlock.
After a sloppy first 20 minutes for the Union, in which Kennedy Igboananike scored for Chicago in the 10th minute, Philadelphia found an equalizer in the 21st minute with Fernando Aristeguieta´s header from Cristián Madiana´s corner kick.
Fabinho made the score 2-1 in the 31st minute scoring a stunning goal from Maidana's second assist of the evening.
The Fire tied the game in the 54th minute, and both teams battled to take the lead. Sebastien Le Toux scored his 51st goal in MLS play in the 90th minute giving the Union the 3-2 lead. Maidana´s third assist set Le Toux up on the left side of the area and the Frenchman drove a hard shot into the bottom right hand corner of the goal.
The Fire equalized in the second minute of added time with Igboananike´s second goal of the night.
With the three assists, Maidana broke the club record for most assists in a single season with 14. Le Toux previously held the record with 12 assists in the 2013 season. Maidana is now the first in the league for assists in the 2015 season.
The Union will play again this Saturday, Aug. 22, to face the Montreal Impact at 8:00 p.m. in Saputo stadium.
Labels: Union
Quick Hits: Eagles-Colts edition
PHILADELPHIA – The first preseason game of any NFL season can be a tedious exercise, a necessary eight-to-10 play evil for the veterans — at least the ones not named Sam Bradford — and an opportunity for young unknowns to catch the eye of a coaching staff that regards them only as a useful body to abuse in the 90-degree heat of an August practice.
With Tim Tebow and his national fan club overblowing every single thing the former Heisman Trophy winner does, the third-team quarterback competition was the obvious storyline during Sunday's 36-10 Eagles rout of the Indianapolis Colts. But, here's the other areas you should have been paying attention to:
HOLDING DOWN THE FORT: With Zach Ertz gone until at least Week 1 of the regular season, an optimistic timetable if his core-muscle injury was indeed sports-hernia surgery as most surmise because Dr. William Myers was involved, the young tight ends behind Brent Celek become far more important.
Second-year man Trey Burton steps into the backup role for now and serves as more of a versatile h-back because he can line up in the backfield or in the slot. At just 6-foot-3 and 235 pounds, however, Burton isn't moving many off the ball as an in-line blocker. He can play a gloried fullback role, however, and had a few nice lead blocks against the Colts, while he also got behind the Indy defense on Philadelphia's first offensive play but Mark Sanchez badly hung the football, resulting in an incompletion.
The Birds, meanwhile, brought in three rookie free agents at the position to ostensibly fight for a practice squad spot, a reality that could turn into a regular roster spot for at least a few weeks as Ertz convalesces. Michigan State product Andrew Gleichert, Central Florida alum Justin Tukes and ex-UTEP starter Eric Tomlinson are all two-way tight ends in the Celek-mode rather than difference makers in the passing game. Tomlinson was the clear winner on Sunday, hauling in 5 catches for 61 yards.
THE YOUNG RECEIVERS: For all the talk about the ceiling of players like Nelson Agholor and Josh Huff, the only proven commodity among the Eagles' young receiving corps is Jordan Matthews and the second-year wideout needs to step up as the true No. 1 on this team, a notion that is undermined by the coaching staff which has pigeonholed the ex-Vanderbilt star as a slot option.
Matthews caught two passes for 44 yards on five targets in limited action against the Colts and was lost in the shuffle due to the highlight-reel athleticism of Agholor, the team's 2015 first-round pick. The former Southern California standout basically lived up to his scouting report. Like advertised, he's a sudden athlete who can really stick his foot in the ground and go as evidenced by his brilliant 34-yard catch-and-run TD reception on a shaky Sanchez throw.
"It felt like a pass that I was targeted on in practice," the rookie said. "Good habits on the practice field carried over to the game. Sanchez and I connected on multiple hitches in practice and it wasn't any different today."
Agholor's also inconsistent, though, and needs to eliminate the drops (he had two Sunday) and mental mistakes.
"I need to just work on just finding the ball and not looking who is throwing the ball," he admitted. "I think my eyes just went to the quarterback. At the end of the day , I like the fact that (the drops) happened today. It's a good thing to learn from."
YOU'RE UP: Chip Kelly said all four entrants in the ongoing right-guard competition still have a chance but as expected Andrew Gardner got the nod in Game 1 and it's his job to lose now if he can hold off the comeback attempt of John Moffitt.
Matt Tobin and Julian Vandervelde have taken a step back in the four-way competition and have an uphill battle to get back in the mix. Gardner was solid if unspectacular against the Colts and if the leader in the clubhouse continues that narrative, it's his gig.
MARCUS MATTERS: Travis Long's ACL injury created a vacuum behind starters Brandon Graham and Connor Barwin at outside linebacker. The Birds believed Long was ready to take the next step and step into Graham's former role as the third edge player from last season when Trent Cole was still around.
The Long injury seemed like good news for former 2014 first-round bust Marcus Smith but Bill Davis and Co. are still wary of counting on the former Louisville pass rusher and are moving Vinny Curry outside in order to get his pass-rushing skills on the field more. As a 280-pound defensive end, though, it's hard to imagine Curry being able to play in space consistently.Conversely, Smith may have changed the thought process on him at least a little bit against Indianapolis with his best effort as a professional, including one series where he assisted on a run stop, was solid in coverage and got after Matt Hasselbeck with a solid pass rush. If you didn't know the back story of No. 90, you might have thought he was a true, three-down linebacker.
SAFETY HELP?: To the surprise of no one Earl Wolff wasn't dressed Sunday, meaning special teams stalwarts Chris Maragos and Chris Prosinski were the top two options behind starters Malcolm Jenkins and Walter Thurmond at safety. That's a level of depth that's just not acceptable in this league, making the position the one spot to focus on at the final cutdown for a potential waiver wire pickup …. unless Ed Reynolds continues to show up.
The former fifth-round pick out of Stanford hasn't exactly been Philadelphia's best practice player but he showed up big on Gameday with a pair of interceptions and three PBUs.
"It felt amazing," Reynolds said. "It made me feel like I was back in college again. That was my thing in college -- to go out there and be a ball-hawk and give our offense more opportunities. It felt good."
Granted, Reynolds' heroics weren't against ex-Cardinal teammate Andrew Luck, TY Hilton and Frank Gore but his nose for the football shouldn't be dismissed because the Eagles are desperate for any help at the position.
"I just need to be conistent," Reynolds surmised. "It can't just be his one week. I need to show up this week, then show up the week after that, and hopefully carry it over into the regulaqr season and then into the playoffs."
PARKEY PANIC:Under any circumstances, it was going to be hard for Cody Parkey to live up to his impressive rookie season.
There was plenty of good against the team that originally signed him as a rookie free agent out of Auburn last season, including a 48-yard field goal in the third quarter but there was also plenty of bad, as he misfired on one of the now extended PAT tries as well as a 34-yard FG attempt.
Philadelphia fans were a little spoiled with Parkey's performance last season and you can expect a bit of market correction this time around.
TEBOW TIME: Kelly's assertion that Tim Tebow is not a gimmick and rather a true signal caller in this league foreshadows his ultimate intent when it comes to the third spot. The Eagles would love to trade Matt Barkley in order to hand the job to Tebow and as injuries continue to pile up around the league that remains the most likely scenario.
If nothing materializes, however, Kelly would be forced to cut Barkley in order to move toward Tebow, a reality that would be much easier if the popular former Hesiman Trophy winner is at least competent in the preseason.
If the battle were a true competition, Barkley wins going away in Week 1 and was by far the Eagles' most impressive signal caller against Indianapolis, finishing 12-of-20 for 192 yards with an interception. He's gotten some of the arm strength back that has been missing since his shoulder injury at Southern California and while he'll never be Brett Favre, Barkley belongs in this league.
You probably can't say the same for Tebow, who still has the terribly elongated throwing motion and mechanics that remain subpar. Meanwhile, despite the talk of Tebow being a great runner he's not exactly Michael Vick when tucking the football, although he set off his acolytes with a 7-yard TD run late. Overall Tebow finished 6-of-12 for 69 yards and added another 15 on the ground with the TD.
-John McMullen covers the Eagles and the NFL for 973ESPN.com. You can reach him at jmcmullen@phanaticmag.com or on Twitter @jfmcmullen
Labels: Eagles, McMullen
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Oliver is an organic triangular piece that can be crafted as a coffee table and as an end table.
The Oliver tables are made of solid walnut. They feature mortise and tenon joinery, and finely sculpted legs. The tables are hand rubbed with a natural oil and wax finish.
Coffee table dimensions are 48"w x 21"d x 16" h.
End table dimensions are 26"w x 22"d x 22"h.
This design can be modified for a custom fit.


Those were the good old days. I've found, over the years, that I have become a fabric snob. I still shop at Joann. I still use my coupons. But, a specialty quilt shop is my happy place. I've even started stalking some of the Moda fabric blogs to see the new lines that will be coming out. I love how a fabric line will have 20+ different fabrics that all coordinate. I can pick and choose my look, but know that it all goes together. It takes the guess work out of fabric selection. Not only that, but the quality of Moda (my favorite) fabrics is so much higher. It makes a much nicer quilt, I must say, when you are working with a higher quality fabric.
A few summers ago, we were in a small little town in Eastern Washington. We were just passing through, and had stopped for lunch. When I spotted the quilt shop across the street, I couldn't resist. I bought a few fabrics from the Salt Air line. Here's a peek at some of the projects they've been turned into.
So far, there are two quilts. I played around with different designs on a computer quilting program I have, and came up with these. I can't tell you how much fun I had designing my own quilts.
I made a bunch of floor pillows too. Our family room has comfy seating for about 3 people. After that, it's pillows and blankets on the floor. Joann (see I do still shop there) sells giant 27″ square pillow inserts. I make all of my pillows with zipper enclosures so I can trade the covers out. I like to change my look with the seasons. The Moda Salt Air fabrics are definitely going to be my Summer look.
By the way, if you're a quilter but have not ventured into a quilt shop, it's time. Go in, browse around, and pick a line that jumps out to you. Moda is my favorite brand. I love the Moda fabrics designed by French General, V and Co., Fig Tree, and Camille Roskelley. Ask the nice ladies in the shop to show you where those are. You may just find your happy place too!
When I got the urge to start this quilt, the fabric had been sitting on my sewing table for quite a while and I really had no plans for it, so a quilt seemed like a good choice. I wanted something simple and mindless. I wasn't in the mood to think too hard about measurements and fabric placement. I just wanted to sew. I came up with a VERY simple quilt top, which I figured I'd try free motion quilting on. I wasn't too excited about the free motion quilting part of that idea, so when I finished, the quilt tops sat there for about half of the year. Finally, I decided it was time to get these quilts out of the craft room and into the family room. While I was at it, I took pictures of the quilt binding process.
If you've ever wanted to learn to bind a quilt, here's the step by step tutorial. If you really don't care, please don't waste your time reading this, because it's very picture heavy.
I use 2 1/2 inch strips when I make quilt bindings. I use a cutting mat, rotary cutter, and quilting ruler to make sure my strips are perfect.
Once the strips are cut, it's time to join them together. I place two pieces (right sides together) and sew from corner to corner. I overlapped a little on the ends of each piece because I knew I'd cut that part off. You can draw a line to follow if you'd like, but I just eyeball it.
Cut off the extra fabric.
When you open in up, it looks like this. Press the seams to one side and then keep adding more strips in the same way.
Next, you need to iron your fabric. In the past I would fold my fabric, wrong sides together, finger press it down, and then iron it. It's not hard and it's not too time consuming, but then I spotted this cool contraption on a quilting show on PBS. (There I go again, admitting that I spend my spare time watching sewing shows on public television. Nerd alert!) This is a binding maker from Singer. It is so cool! It folds, presses, and spits out perfect quilt binding in about 2 minutes.
It comes out of the machine perfectly pressed. That little piece on the end is the iron. It has a little roller in it so everything is automatic. If you sew, you know how cool this is! It even makes piping, although I haven't tried that yet. Ok, so if you don't have this cool machine, just fold the fabric in half and iron. That's the way I have made it for the past 15 years and it works just fine.
Just one more picture of my fun new toy doing its thing.
Ok, maybe just one more. See how it fold the fabric for you before going into the iron. You can get that tip in other sizes too. It's "sew" much fun!
When you're done pressing, you'll have a pile of quilt binding. Get ready to sew.
The first thing I do is trim my starting edge at an angle.
Then I open it up and fold it back.
When you close the fabric back up, it gives you a clean edge.
To start binding my quilts, I usually don't start at a corner. I just pick somewhere in the middle, at the bottom, and line my binding fabric up. You'll notice that I have the raw edge of my quilt lined up with the raw edge of my binding fabric. The over hanging fabric is my quilt batting, and you can't see it but the backing fabric is there too.
Line the presser foot up along the edge of the fabric, backtack a few stitches and then start sewing a straight line.
When you get just about to the end, maybe a quarter of an inch away, backstitch about an inch.
Pull the binding fabric back on top of itself, so it folds into a 45 degree angle.
Then, fold it back on top of itself, lining the edge up with the next side you need to sew.
I know that's kind of tricky. Let's try that one more time. I'm close to the edge.
Fold and line up with the new side.
Then, you can lift your presser foot, turn your quilt, and get ready to sew the next side.
When you get to the end, turn the fabric under again, like you did at the beginning. That gives it a nice clean edge.
Finish sewing the binding down.
Hey, look at that! Someone got a pretty new cutting mat! I really needed a new cutting mat and found this one in red. I've never seen a red cutting mat before, but I'm loving it!
I use my ruler and rotary cutter to remove the extra batting and backing fabric. I line the quilt ruler up along the edge of the binding fabric and cut. This still leaves that 1/4 inch seam allowance. Don't cut that off, because it's what makes the binding fluffly.
When you're done trimming, the quilt will look like this.
Flip the quilt to the back side, roll the fabric around the edge and pin. I really hate pinning, so I only do it when I really have to. The first couple of times you bind a quilt, you'll want to pin. After that, just hold it with your fingers and go for it.
When you are sewing the binding down, you want to get REALLY close to the edge. See how my needle is right next to the edge of the binding fabric. I want to go right along that edge. It takes some practice.
When you get to a corner, you'll need to fold the fabric.
It makes a nice mitered corner. When you get to the point, put the needle down into the fabric, and turn the quilt so you can keep sewing.
Keep going all the way around the quilt.
Here's my finished quilt. I can't say I'm in love with it. I love the fabrics, but I'm a little bored with the finished product.
I did get to try my hand at machine quilting. I made the swirly patterns in the big squares, which is something I've never done before.
I made two of these quilts and put them over the chairs in my family room. They add a little color and I'm happy about that. If you're working on a quilt of your own, I'd love to see it. You can email me a picture at homeiswheremystorybegins@gmail.com.
The other day I ran across a photo on Instagram of a quilt block that made my heart go pitter patter. It was a quilt block that looked like bowls and a wooden spoon. I absolutely had to know where this came from. I tracked it down to a book called Farm Girl Vintage and now I have a new quilting project in the works.
The Farm Girl Vintage quilt is made of a variety of different blocks and I think it will be so much fun to make these. There are several styles that I don't have any experience with, so this will be a good challenge for me.
How could you NOT get sucked in? The combination of vintage fabrics and country farm girl vintage quilt blocks is just too much to resist!
I can't wait to get started! I think I'll make that cute bowls and wooden spoon block first.
There are some months that I sew several times each week. September is not one of those months. In September, I'm flooded with back-to-school-ness, curriculum nights, and just trying to survive the energy of 20+ five year olds. I'm needing a little sewing inspiration and motivation to break out the sewing machine again! (It's inching close to October and then I have no excuse!) To help get myself going, I'm revisiting an old post about my favorite sewing blogs. Enjoy.
Have I mentioned how much I love to sew?
I have a lot of hobbies, but I think sewing has to be my favorite. I love the fact that I can see some expensive drapes, or an over priced pillow, and whip up something similar at a fraction of the price. I don't particularly like sewing clothes. Garment construction frustrates me. My favorite projects are always quilts.
I'm not sure how I would describe my quilting style. I love traditional blocks and have several antique quilts around my house, but I'm totally drawn to the newer fabrics. I could spent hours in my local quilt shop picking out fabrics and planning quilt tops in my head. When I hear the word "modern" I think about sharp edges, straight lines, and dark fabric that makes a statement. So, when I hear the term "modern quilter" I tend to shudder a bit. That's definitely not my style. But, over the past few years, I've been seeing "modern quilting" in a different light… a bright and airy light! I now think of modern quilting as updated, fresh, on-trend, and a new spin on old favorites. That's how I see these ladies, below. They are my sewing idols. They have both recently published books, which I have in my library, and I find so much inspiration from their blogs as well.
First up, I'd like to introduce you to Camille Roskelley, who is the author of the blog Simplify (and two books). If this were my sewing room, I can assure you I would never leave. Will you just look at that fabric wall! This is a quilters dream come true!
Camille is also a fabric designer for Moda and a Craftsy instructor. Maybe that's how she gets all of those fat quarter bundles and jelly rolls!
I've been inspired by Camille's patterns and photos of quilts she has made. My biggest take-away has been to use more solids in my background. I think it gives quilts a modern look, but keeps the light and bright feel. I've been using solid white, solid cream, or solid tan lately on my quilts and I'm loving the way they are turning out. The Swoon quilt, below, will be one of my next quilts. Camille teaches this one in her Craftsy class. I'm hoping to get started over Christmas break.
In one of Camille's books, she mentioned that the actual quilting part is her favorite step in making a quilt. Well, that's always been my least favorite step, so she's inspired me to give in another try. I'll let you know how it goes. I hope it turns out half as beautiful as the quilting on Swoon!
Allison Harris is the author of the Cluck, Cluck, Sew blog, and she also has a new book out. The title of her book is Growing Up Modern. Again, it's taken a bit of getting used to, but I like referring to the quilts that Allison and Camille do, as modern. Allison's quilts have the same light and bright feel that Camille's do. I love her use of white solids for the background fabrics.
My heart melted a little when she shared pictures of her bunny's babies. Ummm, seriously, is there anything cuter than these little guys?
I just want to scoop them up and snuggle them!
Allison designs patterns, writes books, quilts, and snuggles bunnies and her own kids in her spare time. Here's a great example of a modern quilt, using the latest fabrics. Doesn't this look like something you'd love to curl up under while watching a movie? I love her use of color. It's still light and bright, put it's not pastel. The white background really helps accentuate the colors in the hashtags.
The picture, below, might just illustrate why she could be my BFF. Take a look at this organization! Ahh. I hear angels singing.
I'm off to go organize my fabric stash or pile some little squares of fabric!
Yesterday, I wrote about not being quite ready to let go of the Winter quilts and pillows. Maybe it was because it was a cold and rainy day, and I just wanted to cuddle up under a quilt with a good book. On the next sunny day, I think I'll be ready to bring these out.
I do love the bright and cheerful colors. For all of these projects I used Moda's Salt Air line. They are such happy fabrics!
I will admit, there was a time in my life when I couldn't imagine buying fabric at a quilt shop. The big fabric store chains were just fine for me and made a pretty quilt. Then, I discovered Moda Fabrics. Sigh. They're so pretty. I just love the way there is an entire line of fabric with 40 prints that are meant to go together. It's just so cohesive and makes my wanna-be-artistic-style easier to achieve.
I used the fabric for more than just quilts and pillows. There were lots of summertime kid projects with Salt Air too.
Now, maybe if we could get a little sunshine around here, I could get in the mood to decorate for Spring!
Happy Spring sewing and decorating!
I know it's time to put my winter quilts away and bring out the Springy quilts, but this one doesn't seem too Winter-ish.
It's Spring cleaning time and I'm thinking about rotating my seasonal decor. Quilts are my favorite things to change out. I usually leave a big basket filled with almost all of my quilts in my family room, in case of a chilly night on the deck when we have company over. In addition, I have one or two draped over the back of a chair or hanging off the side of the couch. I rotate those, seasonally, along with my floor pillow covers. This is one of my Winter quilts. There's really no reason that I call it a Winter quilt. The colors are pretty neutral and the fabrics are not season-specific. For some reason, it just says Winter to me.
This quilt was my first jellyroll project. I fell in love with the colors of this jellyroll, the minute I saw it. I had no idea what I would make, but I just loved this fabric.
When I ran across this book, I knew my problems were solved. I bought the book and picked out a pattern. The pattern I chose was not something I would normally pick. It was very random, and I tend to like a more predictable pattern.
What do you think? Is this a Winter quilt, or can it stay out a bit longer?
It's cozy, just the right colors, and looks great in my family room. Maybe just a few more months.
Happy Spring decorating… unless you're not quite ready yet.
The quilting is finally done on my daughter's new quilt! I picked it up from my longarm quilt lady this weekend. This quilt has been a long time in the making. My daughter picked out the jellyroll about 2 years ago now. I finished the top over the summer, and took it to my quilt lady in the fall. I told her I was in no hurry, knowing that Christmas was coming, so I think it really got pushed onto the back burner. Meanwhile, I made the cute pillowcase with a few of the scraps from the quilt.
I love the way it turned out, and more importantly, my daughter loves it!
I've had a few questions recently about how I write up quilt patterns and which programs I use. Although I don't consider myself a quilt designer (yet), I do have the tools to get the job done. I have to be honest. I'd LOVE to design and sell quilt patterns. I have several ideas rolling around in my head, and I even have a few samples made, but actually writing them up and selling the patterns is another story. So far, I've spent time playing around with my programs, designed a few things for myself, and tried my hand at writing a few sample ideas. Baby steps, I guess.
About a year (or maybe 2 years) ago, I purchased the Electric Quilt 7 program.
I had a few gift cards saved up and I had been researching different quilt design programs. This one had fairly good reviews and seemed like something I would enjoy. My main goal in purchasing this was to be able to design patterns that I like, have a program to help determine measurements and cutting instructions, and to be able to have the ability to play around with shapes and colors without actually cutting into my fabric. Electric Quilt 7 did just those things.
Here are some examples of the "finished look" that I've come up with.
And here's what I've turned them into.
This program is great because after I design something, I can tell it to print my templates or rotary cutting guides. Here's what they look like.
It doesn't write out step by step directions for you. So, you kind of have to know what you are doing when it comes to quilting. This is about as far as I've taken this dream of selling quilt patterns. My next step is to start writing up directions for my projects. I've been having fun practicing with this step. It's harder than it seems! We spend a lot of time writing How To books in kindergarten and first grade and it's always a bit challenging for the kids. They are always forgetting steps, glossing over certain parts very quickly, or not thinking about what their readers already know or need to know. Well, guess what? The same thing happens when you are writing for adults!
My goal for the month of January is to finish putting together my pattern for the Chevron Floor Pillow and assemble some fabric kits to go along with it. Several of my friends and neighbors have asked me to do a "sewing camp" for adults and I thought this would make a great project. If I can get my act together and write the pattern, maybe I'll be able to host a sewing camp in February! We'll see.
I hope that answered the questions I've been getting about how I design and write patterns. I'm certainly not an expert in this area, but I've been having fun playing around with the process. I have really enjoyed using the Electric Quilt 7 program. I took some time to learn. I watched many videos, read through several tutorials, looked up problems on YouTube, and still have to relearn every time I open it up. I kind of reminds me of Photoshop. It took me a very long time to learn Photoshop. I'm still no where near mastery, but I use it all the time and it's starting to feel very comfortable. That's exactly the way I feel about EQ7.


Discover with us one of the most common wine aromas: the violet flower.
Violets have been associated with the gods since the days of the Greeks and Romans. They are thought of as the symbol of the cycle of life, and of truth and love.
The violet was associated by the Greeks and Romans, to the myth of Venus and Adonis. According to this story, the great mother goddess Cybele loved Attis, who was killed while hunting a wild boar. Where his blood fell on the ground, violets grew.
The Greeks believed that violets were sacred to the god Ares and to Io, one of the many human affairs of Zeus. Later, in Christian symbolism, the violet stood for the virtue of humility and many legends tell of violets springing up on the graves of virgins and saints. European folktales associate violets with death and mourning.
In wines, violet is the floral aroma found in fine red wines. It is typical of the Cabernet Franc, Sangiovese, Malbec, Cabernet Sauvignon and Nebbiolo.
The most famous wines presenting this aroma are the Barolo, Barbaresco – check this article! -, Bordeaux red, Brunello di Montalcino, Chianti, Côte-Rôtie and Rosso di Montalcino.
Now, try to smell a violet and then try one of these wines. Can you smell the aroma?


Maria here today to show you two new stencils from StencilGirl Artist Lizzie Mayne!
I had some fun in my Art Journal to show you what they look like when stenciled.
I used the Sand Paste from the DecoArt Media Line through the 9" x 12" Aztec Sun stencil to show its fabulous texture. WOW! Put two great products together and you get awesome!
Here it is after I was done. I stenciled and then also used some of the sand texture with a pallet knife.
I added some of the DecoArt Gesso in the place where I wanted to focus on the sun and then Fluid Acrylics before I stenciled the sun over it. I added a bit of hand doodling to the stenciled sun.
As for that sand texture--oh my!
Here it is with yet more DecoArt Fluid Acrylics!
Here is a simple page I did to show you just the fantastic stencils!
The middle sun is the 6" x 6" and the outside parts are from the 9" x 12".
GORGEOUS colors and textures, Maria! What a fun new stencil!
Love this! Fabulous colors and textures... beautiful page and I love how you created a scene with this. I can't wait to get these stencils... they're right up my alley!


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A Balla-patak a Mátrában ered, Mátraballa településtől északnyugatra, Mátranovák településtől -nyire délkeletre, Heves megyében, mintegy 260 méteres tengerszint feletti magasságban. A patak forrásától kezdve déli irányban halad, majd Recsk nyugati részénél éri el a Parádi-Tarnát.

Élővilága

Flórája
A patak növényvilágát többek között az alábbi fajok alkotják: muharsás (Carex panicea), bugás sás (Carex paniculata), széleslevelű ujjaskosbor (Dactylorhiza majalis).

Part menti települések
A part mentén fekvő településeken közel 5400 fő él.
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 Recsk

Jegyzetek

A Mátra patakjai
Heves megye patakjai

redpajama_set_name: RedPajamaWikipedia


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San Antonio de Itatí é um cidade da Argentina, localizada na província de Corrientes. Entre 1910 e 2013, o município foi chamado Berón de Astrad. É a capital do departamento de Berón de Astrada.

Cidades de Corrientes (província)


Many of us know what it feels like to be tortured via the throes of anticipation. We waited anxiously for Cal Football to reign as No. 1 last semester, but the moment never came. We cried tears of sweet closure when the last installment of Harry Potter reached our eager hands.
Still, none of that compares to the emotional turmoil that arrives in many student mailboxes across the country today. Yes, it's that time of year again–the day many high school seniors open a long-awaited letter from the UC Berkeley admissions department (or, rather, log into the myBerkeleyApplication portal at 5 p.m PST for quicker results).
One glance at College Confidential, a message board consisting largely of soccer moms and stressed out overachievers, and you can get a sense of the agony. Some are even accusing admissions of an e-mail conspiracy after their "suspicious" and "cruelly worded" letter announced the release of acceptances on Mar. 27. The letter proclaims, "Thank you for your patience: We're worth the wait!" Cruel, indeed.


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Hunter Biden firestorm underscores the hazy line between politics and influence campaigns
Oct. 21, 2020 05:19PM EST
The recent firestorm over the New York Post's publication of stories relying on data from a hard drive allegedly belonging to Hunter Biden shows the increasingly hazy line between domestic political "dirty tricks" and a foreign-sponsored disinformation operation.
Why it matters: This haziness could give determined actors cover to conduct influence operations aimed at undermining U.S. democracy through channels that just look like old-fashioned hard-nosed politics.
Catch up quick: The stories by the Post, which were dogged by controversy within the newspaper itself, have focused on Hunter Biden's international business dealings as well as raw tabloid exposés of his personal life.
The most serious Ukraine-related allegation — the recycled claim that Joe Biden pressured Ukrainian officials to fire a prosecutor because the then-vice president wanted to kill an investigation into energy giant Burisma, where the younger Biden sat on the board — has been extensively debunked as false. (Hunter Biden's business activities abroad while his father was in office do nevertheless raise potential conflict-of-interest questions.)
Possibly more consequential than the data trove itself are the unusual circumstances surrounding its discovery and dissemination.
According to the Post, Hunter Biden dropped a waterlogged laptop off at a computer repair shop in Delaware — though the repairman says he never actually saw the person who left it — where it languished for over a year.
The repairman eventually contacted an associate of Trump lawyer Rudy Giuliani, who passed the contents of the laptop's hard drive on to the New York Post. (Former Trump adviser Steve Bannon also somehow obtained a copy.)
Between the lines: It's a byzantine account, and the chain-of-custody issues alone raise many questions. It would be easy for anyone along that chain to, for instance, mix in forged documents or content that's otherwise particularly damning.
Russian intelligence services have a long history of doing just that, a technique they employed as recently as in a hack-and-leak campaign during the 2017 French elections.
Although administration allies like Giuliani — and, unusually, even DNI director John Ratcliffe — have pushed back against allegations that the cache may be part of a Russian disinformation campaign, the FBI is reportedly investigating precisely this possibility.
No clear evidence has yet emerged to settle the matter either way.
Our thought bubble: Questionable sourcing doesn't necessarily negate the newsworthiness of genuine leaked communications. (Forgeries are another matter, and the legitimacy of the documents behind the Post story remains an open question.)
Just because it was the GRU, the Russian military intelligence agency, that hacked the DNC's emails and passed them to WikiLeaks doesn't automatically mean mainstream outlets shouldn't have covered them.
Yes, but: Understanding where leaked documents and similar material come from helps us grasp if there are larger forces at work so that we don't miss the forest for the trees.
In 2016, the "trees" were the internal squabbles and maneuvering within the DNC, as revealed in the leaked emails.
The "forest" was that Russian intelligence services had launched an unprecedented covert-action campaign against the United States aimed in part at tilting the scale toward their preferred presidential candidate.
Be smart: We don't have that kind of clarity right now about Hunter Biden's hard drive. Giuliani may indeed have obtained it through some kind of highly fortuitous domestic legerdemain.
But the potential for foreign skulduggery is also impossible to ignore, particularly given Giuliani's role as President Trump's point man in Ukraine, working to dig up Biden dirt in close collaboration with Ukrainian officials — including one the Treasury Department identified as a known "active Russian agent for over a decade."
Trump and some White House staffers reportedly received warnings last year that Giuliani was entangled with Russian assets in Ukraine.
The bottom line: We can't ignore the larger context of Giuliani's actions. We may not be able to see through the entire forest of the 2020 elections yet, but that doesn't mean we are required to only gaze at solitary trees, either.
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Humans are capable of great kindness and compassion, and there are countless examples of individuals who have made a positive impact on the world through their selflessness and generosity.
One such example is Mother Teresa, who devoted her life to serving the poor and sick in the slums of Calcutta. Through her tireless work and unwavering dedication, she touched the lives of countless people and became a symbol of compassion and selflessness.
Another example is Malala Yousafzai, a young woman from Pakistan who has become a powerful advocate for education and the rights of girls. Despite facing threats and violence, she has continued to speak out and fight for change, inspiring others to do the same.
These are just a few examples of the many good humans who have made a difference in the world. They remind us that one person can make a difference and inspire others to do the same.
It's also important to note that acts of kindness and compassion don't have to be on a grand scale to make a difference. Small acts of kindness, like holding the door open for someone or offering a word of encouragement, can have a big impact on the people around us.
In conclusion, humans are capable of great compassion and kindness, and there are many individuals who have made a positive impact on the world through their selflessness and generosity. They remind us of the power of one person to make a difference and inspire others to do the same. Let's all strive to be good humans, and make our world a better place.
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redpajama_set_name: RedPajamaCommonCrawl


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Double Dissolution Trigger Created As Senate Rejects Bill For Second Time
A double dissolution of the 44th Parliament is now a live option, following today's rejection by the Senate of a bill to abolish the Clean Energy Finance Corporation.
The Clean Energy Finance Corporation (Abolition) Bill 2013 [No. 2] is the first double dissolution trigger for the Abbott government. The bill is one of a number related to the abolition of the carbon tax and the emissions trading scheme.
The Senate first rejected the bill on December 10, 2013. As required by Section 57 of the Constitution, three months passed and the bill was reintroduced in the House on March 20. It was passed again on March 27 and reintroduced to the Senate on the same day. The Senate rejected it on the Second Reading by 35 votes to 28 just after 9.30am today. The ALP, the Greens and Senator Nick Xenophon voted against the bill.
Other legislation is likely to be rejected over the next month, particularly the bill to introduce a Medicare co-payment. The current Senate is in its final week, with new senators due to take office on July 1. The Senate has been recalled early on July 7 to consider legislation currently stalled in the Senate.
Section 57 triggers remain live until May 11, 2016. The Constitution does not permit a double dissolution in the last six months of a parliamentary term. Section 28 of the Constitution stipulates that a parliamentary term begins on the first day the House of Representatives meets following an election. This was November 12 last year.
An early election remains almost completely out of the question in the present political climate. Unless the Senate rejects the legislation to abolish the carbon tax, an early election will remain a remote possibility.
The government indicated today that it will re-introduce the Clean Energy Finance Corporation (Abolition) Bill in July and see if the new Senate will pass it.
Full list of bills passed by the House and rejected by the Senate
Information on Double Dissolutions
Filed Under: Abbott, Double Dissolutions Tagged With: Clean Energy Finance Corporation, double dissolution
May 25, 2013 Would A Double Dissolution In Early 2014 Be Unconstitutional?
Feb 19, 2002 Double Dissolutions, Joint Sittings And Reserve Powers
Feb 03, 1983 Malcolm Fraser: Double Dissolution Election Statement
Nov 09, 2001 ALP 2001 Federal Election Policies
May 15, 1983 David Butler: 1983 Election Retrospect
Jul 21, 2014 MH17 Rescue Effort Shambolic, Says Abbott; Like Putting Criminals In Charge Of A Crime Scene
Apr 21, 2007 The Lancet Attacks Howard Over Health And Medical Science
Oct 22, 2005 Apathy And Anger: John Faulkner On Our Modern Democracy
Dec 13, 2001 Howard Government 2001 Cabinet Committees
Sep 11, 2016 Brandis Announces New Anti-Terror Laws; Control Orders To Apply To 14-Year-Olds; Indefinite Detention For Convicted Terrorists
Senate National Press Club RBA Eric Abetz resignation Julie Bishop financial crisis vic1999 Alexander Downer Barack Obama Peter Costello NPC Wayne Swan Peter Hollingworth Bob Brown Christopher Pyne leadership Tony Blair Brendan Nelson Bill Clinton Campbell Newman John McCain Budget Paul Keating first speech Penny Wong Julia Gillard Jeff Kennett GST Liberal Party Jenny Macklin Bill Shorten Chris Bowen carbon tax Peter Cosgrove Anthony Albanese Steve Bracks Robert Hill Kim Beazley Joe Hockey Christine Milne Pauline Hanson State of the Union John Howard 2013 Federal Election Simon Crean Denis Napthine Peter Slipper A.L.P. Mark Latham Malcolm Turnbull Kevin Rudd Warren Truss Gough Whitlam interest rates Stephen Conroy climate change terrorism Andrew Peacock 9/11 editorial Tanya Plibersek George W Bush asylum seekers AEC Malcolm Fraser Adam Bandt Mathias Cormann Iraq George Brandis Tony Abbott Clive Palmer Monica Lewinsky Glenn Stevens Scott Morrison ABC Laurie Oakes Peter Beattie Bob Hawke John Hewson


You are here : iMotivation » Advice » What we miss most about being single?
What we miss most about being single?
Canadian women reminisce about what they miss most about being single.
The single life: Is it something you yearn to put behind you or something you ache to get back? There's a saying that implies that it's human nature never to be quite satisfied with what you've got. But when it comes to being in a relationship, or not, where do you stand? We talked to 10 Canadian women about what they miss most about their lives as single gals.


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Sufjan Stevens (ur. 1 lipca 1975 w Detroit) – amerykański piosenkarz, autor tekstów, kompozytor i pisarz.

Jest multiinstrumentalistą – gra m.in. na akordeonie, banjo, bębenku baskijskim, dzwonkach, flecie, floor tom, fortepianie, gitarze, gitarze akustycznej, gitarze basowej, gitarze elektrycznej, karatalach, keyboardzie, ksylofonie, marimbie, oboju, organach, perkusji, pianinie, rogu, rożku angielskim, saksofonie altowym, sitarze, tin whistle czy wibrafonie.

Wydaje płyty przez niezależną wytwórnię muzyczną Asthmatic Kitty, którą założył wraz z ojczymem. Inne wytwórnie wydające płyty Stevensa to działająca w Anglii – Rough Trade, amerykańska Sounds Familyre i australijski Spunk.

Jego albumy są różnorodne gatunkowo – przewijają się na nich style od elektroniki przez folk i muzykę z nurtami romantycznymi (symfoniczno – instrumentalny album Illinois) po muzykę indie rocka, indie popu, a także świąteczny motyw w Songs for Christmas.

Wraz z albumem Michigan (2003) rozpoczął projekt nagrania albumu o każdym z 50 stanów USA. Poza Michigan wydany został także Illinois. Pod koniec 2009 roku stwierdził, że patrząc na ten plan po tylu latach, brzmi to jak "żart i obciach" oraz w opublikowanym wywiadzie w The Guardian powiedział, że nie ma żadnych skrupułów z przyznaniem, że był to chwyt promocyjny.

Życiorys

Pochodzenie i lata młodzieńcze
Rodzice Sufjana, ojciec z pochodzenia Litwin, a matka Greczynka, w celu lepszej asymilacji z amerykańską kulturą zmienili nazwisko na "Stevens". Wychowywał go ojciec Rasjid i macocha Pat, a sporadycznie odwiedzał matkę Carrie w Oregonie, która poślubiła drugiego męża Lowella Bramsa.

Sufjan urodził się w Detroit, gdzie mieszkał do dziewiątego roku życia, kiedy jego rodzina przeniosła się do Petoskey w stanie Michigan. W Petoskey uczęszczał do Harbor Light Christian School, a także prestiżowej Interlochen Arts Academy. Naukę kontynuował w Hope College w Holland, Michigan i uzyskał tytuł magistra sztuk pięknych w The New School w Nowym Jorku.

Sufjan to perskie imię, które zawdzięcza założycielowi ponadreligijnej organizacji Subud, do której należeli jego rodzice. Imię jest pamiątką po Abu Sufjanie, jednej z historycznych postaci islamu. "Sufjan" oznacza "przychodzi z mieczem".

Rodzice pozostawili mu wolny wybór do zmiany imienia, ale nie był w stanie wybrać czegoś co się spodoba; później rodzice przyznali, że tak naprawdę nie mają pieniędzy na prawną zmianę imienia.

Sufjan obecnie mieszka w Kensington, Nowy Jork, gdzie tworzy personel na Brooklynie wytwórni Asthmatic Kitty. Jego brat Marzuki Stevens jest uznanym w kraju biegaczem maratońskim.

Kariera muzyczna
Stevens karierę muzyczną zaczynał jako członek folk rockowego zespołu Marzuki z Holland, Michigan. Grał i gra do dzisiaj na rozmaitych instrumentach w zespole Danielson Famile.

Pierwsze półtoragodzinne albumy poświęcone dziewięciu planetom, dwunastu apostołom i czterem humorom, zarejestrował za pomocą czterośladowego magnetofonu. Nie ujrzały one światła dziennego, lecz wybór piosenek z tego okresu złożył się na debiutancką płytę A Sun Came.

Później przeprowadził się do Nowego Jorku, gdzie zapisał się do szkoły kreatywnego pisania na uniwersytecie The New School. W 2001 roku podczas pobytu w Nowym Jorku buzująca bohema wciągnęła go w wir pracy artystycznej, owocujący albumem Enjoy Your Rabbit. Album poświęcony znakom chińskiego zodiaku to prawie osiemdziesiąt minut instrumentalnej muzyki przede wszystkim elektronicznej.

W 2003 roku mając w dorobku dwie elektroniczne płyty, dokonał diametralnej wolty stylistycznej i koncepcyjnej. W miejsce elektroniki zwrócił się w stronę akustyki, wokalu i melodii, w miejsce orientalnej inspiracji – powrócił w rodzinne okolice. Narracyjny, wręcz pisarski talent i naukowa niemal pasja przełożyły się na zdumiewającą koncepcję płyty poświęconej rodzinnemu stanowi Michigan.

W 2004 roku Stevens wydaje czwarty album Seven Swans, który jest jego najbardziej osobistym podjęciem wiary. Album cechuje emocjonalna siła, szczerość i słyszalne w dźwiękach dążenie do absolutu.

W 2005 roku Stevens wydaje piąty album Illinoise, który jest uznawany za jeden z ważniejszych albumów muzyki rozrywkowej w XXI wieku.

W 2006 roku Stevens wydaje szósty album The Avalanche, na którym znajdują się dodatki i odrzuty z płyty Illinoise.

W 2009 roku Stevens wydaje siódmy album The BQE, projekt, który powstał na zlecenie Brooklyn Academy of Music. Jest to poemat symfoniczny wraz z akompaniamentem poświęcony autostradzie Brooklyn-Queens Expressway. Został zagrany przez orkiestrę jako tło do filmu o wirtualnej podróży między dwiema dzielnicami metropolii.

Pracował nad ścieżką dźwiękową do nagradzanego melodramatu Tamte dni, tamte noce (2017), a pochodzący z filmu utwór "The Mystery of Love" w styczniu 2018 roku dostał nominację do Oscara za najlepszą piosenkę.

Wpływ, inspiracje

Czerpie inspiracje od amerykańskich minimalistów – Philipa Glassa, Steve'a Reicha i Terry'ego Rileya i jest porównywany estetycznie do Reicha.

W wielu utworach porusza tematy duchowe, czerpiąc inspiracje z historii biblijnych. Szczególnie na płycie Seven Swans w utworach: "The Transfiguration", który mówi o Przemienieniu Pańskim, w utworze "Abraham" opisuje historię Abrahama z Księgi Rodzaju, a tytuł utworu "All the Trees of the Fields Will Clap Their Hands" to cytat z Księga Izajasza.

Sufjan w swojej muzyce kładzie nacisk przede wszystkim na teksty, a zasadniczy wpływ na jego lirykę m.in. mieli: William Blake, William Wordsworth, William Faulkner, Walt Whitman, Flannery O'Connor, Sherwood Anderson, Carl Sandburg i Saul Bellow.

Dyskografia

Albumy studyjne
 2000 – A Sun Came
 2001 – Enjoy Your Rabbit
 2003 – Michigan
 2004 – Seven Swans
 2005 – Illinois
 2010 – The Age Of Adz
 2015 – Carrie & Lowell
 2020 – The Ascension
 2021 – Convocations

Albumy we współpracy z innymi muzykami
 2017 – Planetarium (Stevens, Bryce Dessner, Nico Muhly, James McAlister)
 2019 – The Decalogue (Stevens, Timo Andres)
 2020 – Aporia (Stevens, Lowell Brams)

Albumy koncertowe
 2017 – Carrie & Lowell Live

Kompilacje i inne albumy
 2006 – The Avalanche (kompozycje z okresu powstawania albumu Illinois)
 2006 – Songs For Christmas
 2009 – The BQE
 2012 – Silver & Gold
 2017 – The Greatest Gift (dema, remiksy i kompozycje z sesji nagraniowych do Carrie & Lowell)

Wybrane EP-ki
 2010 – All Delighted People
 2019 – Love Yourself/With My Whole Heart

Utwory w kompilacjach
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Współpraca nad utworami innych artystów
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Przypisy

Linki zewnętrzne
 sufjan.com Oficjalna strona

Amerykańscy bandżyści
Amerykańscy gitarzyści akustyczni
Amerykańscy gitarzyści rockowi
Amerykańscy pianiści
Amerykańscy saksofoniści
Amerykańscy sitarzyści
Amerykańscy wokaliści folkowi
Amerykańscy wokaliści rockowi
Ludzie urodzeni w Detroit
Urodzeni w 1975


Our days are full of Sam's little routines.
One of his favorites is the time he spends with Brian in the evenings. After Brian comes home from work, while I start cooking dinner, he takes Sam out on the porch and they eat peanuts. It started last spring when I went to the Dallas Farmers Market and brought home a bag of peanuts for Sam. He loved them and we've been buying them ever since. They sit on the steps, shell peanuts, and talk about their days. Before going out, Brian always gets a tupperware container for the shells and they say together "It's gonna get messy!"


Typically, winemakers do what they can to carefully control, and often limit, oxygen exposure during the winemaking process. They "top off" wines in barrels and pump inert gases into steel tanks.
While a bit of fresh oxygen, as flows through the pores of oak barrels, can help maturing wines, too much encourages the growth of unwanted yeasts and bacteria. Once bacteria like Acetobacter, get a hold of some fresh air, it will turn wine to vinegar. And long periods of aging in oak casks can lead to noticeable levels of acetic acid.
Yet, in some winemaking regions, oxygen exposure is intentional. We didn't always have the ability to eliminate oxygen exposure with stainless steel tanks and nitrogen gas canisters. Once these technologies came onto market, they could have wiped out oxidized styles of wines. But some historic styles remain. Why?
Jura is a wine producing region in eastern France, between Burgundy and Switzerland. Vin jaune translates, literally, to "yellow wine". Made predominantly from the white variety Savagnin, the wine turns a yellow color due to oxygen exposure. While red wines lose their luster and develop into tawny tones over time exposed to air, white wines often develop into yellow, gold and amber tones.
During years of oak cask aging, as the wine takes on these yellow tones, a "veil" of yeast develops on the surface. The yeast serve as a protective blanket and a sort of preservative. The veil allows for a slight amount of oxygen exposure, but contains it along the surface of the wine. Additionally, this veil prevents the development of high levels of volatile acidity. During long periods of aging in which oxygen is involved, volatile acidity is a significant risk.
The yeast also contributes to flavor. In Champagne, we often talk about smelling and tasting nutty notes or bready, brioche-y notes. These flavors result from a process called autolysis, in which the yeast cells break down (auto = self, lysis = cell disintegration by rupture) while still in the bottle of Champagne. This same process occurs in the film of yeast, with a continuous process of death and renewal contributing to the increasing complexity of flavors and aromas in the wine. This same process contributes to some of the aromatics and flavors of sherry wine, which we discuss below.
Madeira is a volcanic island in the Atlantic Ocean, north of the Canary Islands and west of Morocco. They've been growing grapes since Prince Henry of Portugal sent colonists to conquer the island and clear the land for agriculture in the 1400s. Madeira wine is fortified, with styles ranging from dry to sweet. It once enjoyed great popularity but is more obscure today.
Where ships stop, there must be alcohol (hence, South Africa's long wine history). Until the opening of the Suez Canal, the island of Madeira was a strategic stopping point for ships sailing from Europe to India and the New World. Madeira wine was popular with colonists and our Founding Fathers.
"They ripen and mellow their wines in stoves… by which they save six years of age; but a sea voyage gives a preferable quality to the wine".
To ship a cask of wine to wherever and back was expensive and time-consuming, so winemakers tried to replicate those effects on the island. They developed a few ways to do this. One is to put the wine in large tanks and run hot water through surrounding pipes, heating the wine over several months, after which the wine is aged in cask. This quick and dirty way, called the estufagem process after the estufa vats, is mainly used for bulk production.
Alternatively, the Canteiro method ages wines in attics and typically produces the best wines. These will age in casks for several years, with the best wines aging for decades!
Fortunately for wine lovers with no great place to store wine (i.e. a place with controlled climate and humidity), Madeira is nearly indestructible. It's been fortified, heated and exposed to oxygen plenty already. There's not much else you can do to abuse it.
Sherry is made in the Jerez (Sherry is the British corruption of the name) region on Spain's southwestern coast. The chalky soils and maritime climate produce distinctive wines. By far, the main grape is Palomino. As a wine, Palomino is a bit boring on its own, but lovely when aged and fortified. Moscatel and Pedro Ximenez are also important grapes, particularly for sweeter styles of Sherry.
Sherry is a fortified oxidized wine, though not heated and abused like Madeira. There are a few different styles, but the ones with the most interesting aging processes are fino types and olorosos.
Fino type sherries are unique for their "flor," a blanket of yeast that develops on the surface of the wine after primary fermentation – similar to the veil of the Jura's vin jaune. The flor needs oxygen, so casks are not filled to capacity. The yeast blanket prevents excessive oxidation, allowing for a bit of fresh air to touch the layer of wine just beneath the surface and contributing to flavor and aromatic development through the yeast's own renewal process. After some time under flor, wines are fortified to an alcohol level at which the yeast can not survive. Once fortified, some of the wine is moved through a continuous blending/aging system of barrels. This wine becomes an amontillado or palo cortado. As the wine ages in barrel, it takes on an amber hue. Amontillados, essentially aged finos, display this color, as well as nutty flavors. Palo Cortados, which spend even more time in barrel, are aged amontillados.
Another style, oloroso sherry, is not allowed to develop the flor of the fino types. With more time in barrel and a more oxidative aging process, these wines are more heavily fortified, nuttier and more aromatic in style.
Port is another styles of fortified wine. There are various types, including ruby and vintage, but tawny ports are the ones to talk about with regards to oxidation in wine. Tawny ports are aged in wooden casks. Over time, the wines lose the bright ruby hue of youth, taking on tawny tones and aromas and flavors of nuts, caramel, and dried fruits. A bottle of tawny port may display an indication of age, i.e. 10 years old, 20 years old, etc. The age is an average age of the blend, as tawny port is blended to achieve a certain consistent style. The age will tell you how tawny the tawny Port actually is.
A little bit of oxygen can be a good thing for most wines. And a lot of oxygen is a great thing for some wines. Breathe deeply as you try one of these four historic styles and appreciate the versatile effects of oxidation.
Jancis Robinson. Oxford Companion to Wine.
Karen MacNeil. The Wine Bible.
Cyrus Redding. A history and description of modern wines.


St Mary's Church based on Church Hill in Cubbington has very strong links with our school, providing three school governors who assist with the decision making behind overall running of the school.
In addition the vicar also takes assembly and distributes palm crosses to all the children. We also participate in a number of special services at the church around Christmas, Easter and Harvest. For further details please visit their internet site.


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Medical Faculties
International medical faculty
Postgraduate medical education faculty
About Kyrgyzstan
Official Representatives Abroad
Vice -Rector for scientific works
Kendzhaev İdirisbek Gulamoviç rector, professor Theses, along Nauka
Place of birth: Toktogul village, Kurgantepa district, Andijan region, Republic of Uzbekistan.
Marital status : Married. She has three children.
Education: Higher. Technical University, Bishkek, (1978 – 1983) Postgraduate Studies at the National Academy of Sciences of the Republic of Uzbekistan Candidate of Technical Sciences (1997), Doctor of Technical Sciences (2006), Academician of the Engineering Academy of the Kyrgyz Republic (2011).
1983-1988 – Lecturer, Department of Automobile Transport, Osh Evening Faculty, Frunze Polytechnic Institute;
1988-1991 – study in the graduate school of the Physicotechnical Institute of the Scientific-Production Association Physics of the Sun, Academy of Sciences of Uzbekistan
1991-1996 – Senior Lecturer, Associate Professor of the Department of "Road Transport" of the Osh Higher College of Technology;
1996-1998 – Deputy Dean for Academic Affairs of the Faculty of Energy and Transport of Osh Technological University;
1998-2000 – Dean of the correspondence engineering and technical faculty of Osh Technological University;
2000-2002 – Vice-Rector for Science and External Relations of Osh Technological University;
2002-2003 – Head of the Laboratory of Renewable Energy, Southern Division of the National Academy of Sciences of the Kyrgyz Republic;
2003-2007 – Head of the Department of Power Supply and Automobile Transport of the Physico-Technical Faculty of Osh State University;
2007-2010 – Dean of the Faculty of Physics and Technology of Osh State University;
2010-2011 – Vice-Rector for Distance and Distance Learning at Osh State University;
2011-2013 – and about. Rector of the Kyrgyz-Uzbek University;
2013-2015 – Director of the Department of Investments and Innovations, Osh State University
2015-2016 – Head of the Department of Magistracy and Phd Doctoral School of Osh State University;
2016 to the present, Vice-Rector for Science at Osh State University.
Scientific interests:
Head of the scientific school "Innovative Technologies in Energy". The main directions of the research conducted by the school are the development of fundamentally new power plants based on renewable energy sources using innovative technologies.
Under his leadership, 3 doctoral students, 5 graduate students, 4 applicants and 5 undergraduates conduct research, of which two graduate students successfully completed and defended their dissertations. At the moment, 1 doctoral candidate and 2 graduate students are completing dissertation work.
From 2014 to the present, he is the chairman of the dissertation council on the defense of candidate and doctoral dissertations D 05.17.541 at Osh State University (co-founder of the Research Institute of Energy and Economics at the PEECE).
Coordinator of the International Science and Technology Center (ISTC) for the Southern Region on a voluntary basis.
Manager of three International Science Projects on the NATO Science for Peace programs, EC INKO-KOPERNICUS and ISTC.
Full member of the Academy of Engineering of the Kyrgyz Republic.
– Honorary Diploma of the Ministry of Education and Science of the Kyrgyz Republic (1998);
– Honorary Diploma of the Ministry of Energy and Transport of the Kyrgyz Republic (2007);
– Excellence in Public Education of the Kyrgyz Republic (2000).
© 2019 Osh State University - Medical Faculties
REPRESENTATIVES ABROAD


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'A Quiet Place Part II' Tops Redbox Disc and Digital Charts for Third Week
Paramount Home Entertainment's A Quiet Place Part II remained No. 1 on both the Redbox disc rental chart and the Redbox On Demand chart the week ended Aug. 15, its third consecutive week atop both charts.
The top new release on the disc rental chart, which tracks DVD and Blu-ray Disc rentals at Redbox's more than 40,000 red kiosks, was Paramount's The Misfits at No. 2. Pierce Brosnan stars in the movie about a band of modern-day Robin Hoods who want to steal millions in gold bars stashed underneath one of the world's most secure prisons. It was No. 5 on the Redbox On Demand chart, which tracks digital VOD and sellthrough transactions.
Warner's Those Who Wish Me Dead slipped a spot to No. 3 on the disc-rental chart.
Screen Media's Till Death, starring Megan Fox, debuted at No. 4 on the disc-rental chart and moved up to No. 4 on the digital chart as well.
MGM and Warner Bros. Home Entertainment's Wrath of Man dropped to No. 5 on the disc rental chart, but remained No. 2 on the digital chart.
Universal Pictures' F9: The Fast Saga dropped to No. 3 on the Redbox On Demand chart.
Also making its first appearance on the disc-rental chart, at No. 7, was supernatural comedy sequel The House Next Door: Meet the Blacks 2.
Top DVD and Blu-ray Disc Rentals, Redbox Kiosks, Week Ended Aug. 15:
A Quiet Place Part II — Paramount
The Misfits — Paramount
Those Who Wish Me Dead — Warner
Till Death — Screen Media
Wrath of Man — Warner
Luca — Disney
The House Next Door: Meet the Blacks 2 — Lionsgate
Spiral: From the Book of Saw — Lionsgate
Mortal Kombat (2021) — Warner
Midnight in the Switchgrass — Lionsgate
Top Digital (VOD + Sellthrough), Redbox On Demand, Week Ended Aug. 15:
Wrath of Man — MGM
F9: The Fast Saga — Universal
Nobody — Universal
Don't Breathe — Sony Pictures
'A Quiet Place Part II' Tops Redbox Disc and Digital Charts for Second Week
Paramount Home Entertainment's A Quiet Place Part II remained No. 1 on both the Redbox disc rental chart and the Redbox On Demand chart the week ended Aug. 8, its second consecutive week atop both charts. The top new release…
'A Quiet Place Part II' Tops Redbox Disc and Digital Charts
Paramount Home Entertainment's A Quiet Place Part II took over the No. 1 spot on both the Redbox disc rental chart and the Redbox On Demand chart the week ended Aug. 1. The suspenseful sequel has grossed $158.9 million at…
Redbox Inks Distribution Deal With Paramount
Redbox Jan. 25 announced its latest distribution agreement with Paramount Home Media Distribution that offers the studio's titles at kiosks on the same day as retail release. The deal also includes digital distribution through Redbox On Demand. "We're proud to…
Redbox Ups Disney Legal Challenge
Redbox is doubling down on its legal fight with The Walt Disney Co. The kiosk vendor Jan. 26 filed litigation against Disney companies, including Buena Vista Home Entertainment, Lucasfilm, and Disney-owned "Movies Anywhere" digital movie service. The suit – filed…


La Brila molotro aŭ Bonaera molotro laŭ traduko de la specifa scienca nomo, Molothrus bonariensis, estas specio de birdoj de la familio de Ikteredoj kaj genro de molotroj kiu enhavas 5 speciojn de nestoparazitaj birdoj.
Ĝi troviĝas en plej parto de Sudameriko escepte la plej densajn ĝangalojn, montojn kaj dezertojn (kvankam ĝi disvastiĝas en tiuj habitatoj se ili estas modifitaj de homoj), la plej malvarmaj kaj sudaj regionoj (ekz. Fuegio), kaj en Trinidado kaj Tobago. Ĝi ĵus koloniigis Ĉilion kaj multajn insulojn de Karibio, kaj eĉ atingis Usonon, kie ĝi probable reproduktiĝas en suda Florido. Nordaj kaj plej sudaj populacioj estas parte migrantaj.
Ĝi estas birdo asocia kun malfermaj arbaroj kaj terkultivejoj.
La maskloj estas ĉirkaŭ 20,3 cm longaj kaj pezas 45 g, estas nigraj kun multkolora irizeco, sed ĉefe violkolora en kapo, dorso kaj subaj partoj, dum verdecaj ĉe flugiloj kaj vosto. La inoj estas 19 cm longaj kaj pezas 31 g, kaj ties plumaro estas malhelbruna, pli pala sube. Temas pri specio kun longa kaj pintakra beko kaj longaj kaj maldikaj kruroj. Estas granda vario de nigraj plumaroj kaj la norda subspecio M. b. cabanisii de Panamo kaj norda Kolombio estas pli pala ol la nomiga subspecio bonariensis. Junuloj estas kiel inoj, sed pli striecaj sube.
La ino povas esti distingata el ino de Brunkapa molotro pro sia pli longa, pli fajna beko, hela superokula strio kaj pli markata kapobildo.
La kanto de la masklo estas ronronado kaj fajfo, puaar puaar puaarte-ciiii. La alvoko de la masklo estas akra fajfo cii-cii, sed la ino elsendas akran tintadon.
Tiu abunda kaj gregema specio manĝas ĉefe insektojn kaj semojn, inklude rizon kaj manĝas surgrunde aŭ eĉ sur gregaro.
Molotrido manĝigata de Ruĝkola plumzonulo.
Kiel plej parto de aliaj molotroj, ĝi estas nestoparazito, kaj la ino demetas siajn ovojn en nestoj de multaj diversaj birdospecioj, kiaj (en Brazil) la Ruĝkola plumzonulo kaj la Maskla fluvikolo. La ovoj estas dutipaj, ĉu blankecaj kaj senpunktaj, aŭ helbluecaj aŭ verdecaj kun malhelaj punktoj kaj makuletoj. La ovoj de la gastiganto estas foje forigitaj, kaj se mankas manĝo, la gastigantidoj povas malsatmorti, sed pli grandaj gastigantaj specioj estas malpli ĝenataj. La kovoperiodo de 11–12 tagoj estas pli mallonga ol tiu de plej parto de gastigantoj. Formortigo de la Brila molotro en la malgranda teritorio de la Palkapa atlapeto kaŭzis populacian pliiĝon ĉe tiu draste endanĝerita specio.
Fotoj kaj Artikolo www1.nhl.nl–"Birds in Suriname"
BirdLife International (2004). Molothrus bonariensis. Internacia Ruĝa Listo de Endanĝeritaj Specioj, eldono de 2006. IUCN 2006. Elŝutita 5a Majo 2006. Malplej Zorgiga.
Lowther, P., and W. Post. 1999. Shiny Cowbird (Molothrus bonariensis). In The Birds of North America, No. 399 (A. Poole and F. Gill, eds.). The Birds of North America, Inc., Philadelphia, PA.
Pereira, J.F.M. 2008. Aves e Pássaros Comuns do Rio de Janeiro. Technical Books, Rio de Janeiro.
Kattan GH. Ph.D. (1993). Reproductive strategy of a generalist brood parasite, the shiny cowbird, in the Cauca Valley, Colombia. University of Florida, United States, Florida.
Manolis TD. Ph.D. (1982). HOST RELATIONSHIPS AND REPRODUCTIVE STRATEGIES OF THE SHINY COWBIRD IN TRINIDAD AND TOBAGO. University of Colorado at Boulder, United States, Colorado.
Mason P. Ph.D. (1980). ECOLOGICAL AND EVOLUTIONARY ASPECTS OF HOST SELECTION IN COWBIRDS. The University of Texas at Austin, United States, Texas.
McKenzie PM. Ph.D. (1990). Habitat use, movements, and behavior of shiny cowbirds in southwestern Puerto Rico. Louisiana State University and Agricultural & Mechanical College, United States, Louisiana.
Woodworth BL. Ph.D. (1995). Ecology of the Puerto Rican vireo and shiny cowbird in Guanica Forest, Puerto Rico. University of Minnesota, United States, Minnesota.
Arendt WJ & Mora TAV. (1984). RANGE EXPANSION OF THE SHINY COWBIRD IN THE DOMINICAN-REPUBLIC. Journal of Field Ornithology. vol 55, no 1. p. 104-107.
Astie AA. (2003). New record of Shiny Cowbird (Molothrus bonariensis) parasitism of Black-chinned Siskins (Carduelis barbata). Wilson Bulletin. vol 115, no 2. p. 212-213.
Astie AA & Reboreda JC. (2005). Creamy-bellied Thrush defenses against Shiny Cowbird brood parasitism. Condor. vol 107, no 4. p. 788-796.
Astie AA & Reboreda JC. (2006). Costs of egg punctures and parasitism by shiny cowbirds (Molothrus bonariensis) at Creamy-bellied Thrush (Turdus amaurochalinus) nests. Auk. vol 123, no 1. p. 23-32.
Baltz ME. (1995). First records of the Shiny Cowbird (Molothrus bonariensis) in the Bahama Archipelago. Auk. vol 112, no 4. p. 1039-1041.
Blanco DE. (1995). Brood Parasitism of the Shiny Cowbird Molothrus bonariensis on Chestnut-Capped Blackbird Agelaius ruficapillus, in Eastern Buenos Aires Province. Hornero. vol 14, no 1-2. p. 44-45.
Cavalcanti RB & Pimentel TM. (1988). SHINY COWBIRD PARASITISM IN CENTRAL BRAZIL. Condor. vol 90, no 1. p. 40-43.
Cruz A & Andrews RW. (1997). The breeding biology of the Pied Water-Tyrant and its interactions with the Shiny Cowbird in Venezuela. Journal of Field Ornithology. vol 68, no 1. p. 91-97.
Cruz A, Manolis TD & Andrews RW. (1990). Reproductive Interactions of the Shiny Cowbird Molothrus-Bonariensis and the Yellow-Hooded Blackbird Agelaius-Icterocephalus in Trinidad West Indies. Ibis. vol 132, no 3. p. 436-444.
Cruz A, Manolis TH & Andrews RW. (1995). History of shiny cowbird Molothrus bonariensis brood parasitism in Trinidad and Tobago. Ibis. vol 137, no 3. p. 317-321.
Debrot AO & Prins TG. (1992). First Record and Establishment of the Shiny Cowbird in Curaçao. Caribbean Journal of Science. vol 28, no 1-2. p. 104-105.
Dolores M & Juan CR. (2005). Conspecific and heterospecific social learning in shiny cowbirds. Animal Behaviour. vol 70, p. 1087.
Feare CJ & Zaccagnini ME. (1993). Roost departure by shiny cowbirds (Molothrus bonariensis). Hornero. vol 13, no 4. p. 292-293.
Fiorini VD & Reboreda JC. (2006). Cues used by shiny cowbirds (Molothrus bonariensis) to locate and parasitise chalk-browed mockingbird (Mimus saturninus) nests. Behavioral Ecology and Sociobiology. vol 60, no 3. p. 379-385.
Fraga RM. (1978). The Rufous-Collared Sparrow as a Host of the Shiny Cowbird. Wilson Bulletin. vol 90, no 2. p. 271-284.
Fraga RM. (2002). Notes on new or rarely reported Shiny Cowbird hosts from Argentina. Journal of Field Ornithology. vol 73, no 2. p. 213-219.
Fraga RM. (2005). The Brown-backed Mockingbird (Mimus dorsalis) as a shiny cowbird (Molothrus bonariensis) host. Ornitologia Neotropical. vol 16, no 3. p. 435-436.
Gabriela L. (1998). Parasitism by Shiny Cowbirds of Rufous-bellied Thrushes. The Condor. vol 100, no 4. p. 680.
Gallardo JM. (1977). Molothrus-Bonariensis and Vigilance of Nests Parasitized by It. Physis Seccion C los Continentes y los Organismos Terrestres. vol 36, no 92. p. 345-346.
Gochfeld M. (1978). Begging by Nestling Shiny Cowbirds Molothrus-Bonariensis Adaptive or Mal Adaptive. Living Bird. vol 17, p. 41-50.
Grzybowski JA & Fazio VW, III. (1991). Shiny Cowbird Reaches Oklahoma USA. American Birds. vol 45, no 1. p. 50-52.
Hutcheson WH & Post W. (1990). Shiny Cowbird Collected in South Carolina USA First North American Specimen. Wilson Bulletin. vol 102, no 3.
Juan Pablo I. (2002). Nectarivorous feeding by Shiny Cowbirds: A complex feeding innovation. The Wilson Bulletin. vol 114, no 3. p. 412.
Kattan GH. (1996). Growth and provisioning of Shiny Cowbird and House Wren host nestlings. Journal of Field Ornithology. vol 67, no 3. p. 434-441.
Kattan GH. (1997). Shiny cowbirds follow the 'shotgun' strategy of brood parasitism. Animal Behaviour. vol 53, p. 647.
King JR. (1973). Reproductive Relationships of the Rufous-Collared Sparrow and the Shiny Cowbird. Auk. vol 90, no 1. p. 19-34.
Kluza DA. (1998). First record of Shiny Cowbird (Molothrus bonariensis) in Yucatan, Mexico. Wilson Bulletin. vol 110, no 3. p. 429-430.
Lea SEG & Kattan GH. (1998). Reanalysis gives further support to the 'shotgun' model of shiny cowbird parasitism of house wren nests. Animal Behaviour. vol 56, p. 1571-1573.
Lichtenstein G. (2001). Low success of shiny cowbird chicks parasitizing rufous-bellied thrushes: chick-chick competition or parental discrimination?. Animal Behaviour. vol 61, p. 401-413.
Lopez-Ortiz R, Ventosa-Febles EA, Ramos-Alvarez KR, Medina-Miranda R & Cruz A. (2006). Reduction in host use suggests host specificity in individual shiny cowbirds (Molothrus bonariensis). Ornitologia Neotropical. vol 17, no 2. p. 259-269.
Lyon BE. (1997). Spatial patterns of shiny cowbird brood parasitism on chestnut-capped blackbirds. Animal Behaviour. vol 54, p. 927-939.
Mason P. (1986). Brood Parasitism in a Host Generalist the Shiny Cowbird Molothrus-Bonariensis I. the Quality of Different Species as Hosts. Auk. vol 103, no 1. p. 52-60.
Mason P. (1986). Brood Parasitism in a Host Generalist the Shiny Cowbird Molothrus-Bonariensis Ii. Host Selection. Auk. vol 103, no 1. p. 61-69.
Mason P & Rothstein SI. (1986). Coevolution and Avian Brood Parasitism Cowbird Molothrus-Bonariensis Eggs Show Evolutionary Response to Host Discrimination. Evolution. vol 40, no 6. p. 1207-1214.
Mason P & Rothstein SI. (1987). CRYPSIS VERSUS MIMICRY AND THE COLOR OF SHINY COWBIRD EGGS. American Naturalist. vol 130, no 2. p. 161-167.
Massoni V & Reboreda JC. (1998). Costs of brood parasitism and the lack of defenses on the yellow-winged blackbird shiny cowbird system. Behavioral Ecology and Sociobiology. vol 42, no 4. p. 273-280.
Massoni V & Reboreda JC. (2001). Number of close spatial and temporal neighbors decreases the probability of nest failure and Shiny Cowbird parasitism in colonial Yellow-winged Blackbirds. Condor. vol 103, no 3. p. 521-529.
Mermoz ME & Fernandez GJ. (1999). Low frequency of Shiny Cowbird parasitism on Scarlet-headed Blackbirds: anti-parasite adaptations or nonspecific host life-history traits?. Journal of Avian Biology. vol 30, no 1. p. 15-22.
Mermoz ME & Reboreda JC. (1994). Brood parasitism on of the shiny cowbird Molothrus bonariensis, on the brown-and-yellow Marshbird, Pseudoleistes virescens. Condor. vol 96, no 3. p. 716-721.
Mermoz ME & Reboreda JC. (1999). Egg-laying behaviour by shiny cowbirds parasitizing brown-and-yellow marshbirds. Animal Behaviour. vol 58, p. 873.
Mermoz ME & Reboreda JC. (2003). Reproductive success of shiny cowbird (Molothrus bonariensis) parasitizing the larger brown-and-yellow marshbird (Pseudoleistes virescens) in Argentina. Auk. vol 120, no 4. p. 1128-1139.
Pereira LE, Suzuki A, Moraes Coimbra TL, Pereira de Souza R & Bocato Chamelet EL. (2001). [Ilheus arbovirus in wild birds (Sporophila caerulescens and Molothrus bonariensis)]. Revista de Saude Publica. vol 35, no 2. p. 119-123.
Perez-Rivera RA. (1986). Parasitism by the Shiny Cowbird Molothrus-Bonariensis in the Interior Parts of Puerto-Rico. Journal of Field Ornithology. vol 57, no 2. p. 99-104.
Porto GR & Piratelli A. (2005). Ethogram of the shiny cowbird, Molothrus bonariensis Gmelin (Aves, Emberizidae, Icterinae). Revista Brasileira de Zoologia. vol 22, no 2. p. 306-312.
Post W. (1992). First Florida Specimens of the Shiny Cowbird. Florida Field Naturalist. vol 20, no 1. p. 17-18.
Post W. (1993). First specimen of the shiny cowbird, Molothrus bonariensis (Aves: Emberizidae) in North Carolina. Brimleyana. vol 0, no 19. p. 205-208.
Post W, Cruz A & McNair DB. (1993). The North American invasion pattern of the shiny cowbird. Journal of Field Ornithology. vol 64, no 1. p. 32-41.
Post W, Nakamura TK & Cruz A. (1990). Patterns of Shiny Cowbird Parasitism in St. Lucia West Indies Southwestern Puerto Rico. Condor. vol 92, no 2. p. 461-469.
Post W & Wiley JW. (1977). Reproductive Interactions of the Shiny Cowbird and the Yellow-Shouldered Blackbird. Condor. vol 79, no 2. p. 176-184.
Post W & Wiley JW. (1977). The Shiny Cowbird in the West-Indies. Condor. vol 79, no 1. p. 119-121.
Post W & Wiley JW. (1992). The head-down display in Shiny Cowbirds and its relation to dominance behavior. The Condor. vol 94, no 4. p. 999.
Ruckdeschel C, Shoop CR & Sibley D. (1996). First sighting of the shiny cowbird in Georgia. Oriole. vol 61, no 2-3. p. 29-30.
Sackmann P & Reboreda JC. (2003). A comparative study of Shiny Cowbird parasitism of two large hosts, the Chalk-browed Mockingbird and the Rufous-bellied Thrush. Condor. vol 105, no 4. p. 728-736.
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Smith PW & Sprunt AI. (1987). The Shiny Cowbird Reaches the USA Will the Scourge of the Caribbean Impact Florida's Avifauna Too?. American Birds. vol 41, no 3. p. 370-371.
Sykes PW, Jr. & Post W. (2001). First specimen and evidence of breeding by the shiny cowbird in Georgia. Oriole. vol 66, no 3-4. p. 45-51.
Viviana M & Juan Carlos R. (2002). A neglected cost of brood parasitism: Egg punctures by Shiny Cowbirds during inspection of potential host nests. The Condor. vol 104, no 2. p. 407.
Wiley JW. (1985). Shiny Cowbird Molothrus-Bonariensis Parasitism in 2 Avian Communities in Puerto-Rico. Condor. vol 87, no 2. p. 165-176.
Wiley JW. (1986). Growth of Shiny Cowbirds Molothrus-Bonariensis and Host Chicks. Wilson Bulletin. vol 98, no 1. p. 126-131.
Wiley JW. (1988). HOST SELECTION BY THE SHINY COWBIRD. Condor. vol 90, no 2. p. 289-303.
Ĉi tiu paĝo estis lastafoje redaktita je 20:51, 25 mar. 2013.


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Chapter 19 - The Viennese method, and Burtin's Models.
In 1921, Otto Neurath (1882-1945) , an Austrian social scientist, wanted to facilitate the understanding of various social and economical trends through a creative combination of statistical charts and graphic design. In 1924, Neurath argued for the establishment of a Museum of Economy and Society, an institution that would educate the public and provide social information. In May 1925, the Museum was opened and its first graphical displays tried to simplify various complicated social and economical trends. By using charts which were to be intuitive and interesting the attempt was made to make those socio-economic concepts easy to grasp for an average citizen. This style of presentation at the time was called the Viennese method, but now it is known as ISOTYPE charts (International System of Typographic Picture Education).
"Followers of the World's Major Religions" from Die Bunte Welt, by Otto Neurath, 1929
In , 1929, he published his Die Bunte Welt (The Colorful World). This was a pioneering work of graphic design and heralded the arrival of visual communication era. Neurath had attempted to develop a universal visual language which is reflected in the book's tables, such as "The Population of Asia, not including East Asia and Australia," and "Followers of the World's Major Religions." Here, Neurath illustrates population figures with simplified composites of the then-prevailing national characteristics — turbans for the Indians, kimonos for the Japanese, sampan hats for the Indonesians.
Gerd Arntz (1900-1988) was born in a German family of traders and manufacturers. He was a socio-political activist in Dusseldorf, where he joined a movement that aimed to turn Germany into a radical-socialist state. As a revolutionary artist, Arntz was connected to the Cologne based 'progressive artists group' (Gruppe progressiver Künstler Köln) and depicted the life of workers and the class struggle in abstracted figures on woodcuts. Published in leftist magazines, his work was noticed by Otto Neurath who for his 'Vienna method of visual statistics' needed a designer of pictograms that could summarize a subject at a glance. Neurath invited the young artists to come to Vienna in 1928, and work on further developing his ISOTYPE. Arntz designed around 4000 different pictograms and abstracted illustrations for this system.
Neurath's motto was 'words divide, images unite'. Many of his designs together with those of his protégé Gerd Arntz were the forebears of pictograms we now encounter everywhere, such as the man and woman on toilet doors. As Marina Vishmidt suggests: "Neurath's pictograms owe much to the Modernist belief that reality may be modified by being codified – standardised, easy-to-grasp templates as a revolution in human affairs.
Alfred Mahlau
Alfred Mahlau (1894 - 1967) German painter, illustrator and teacher, who is best known for his graphical work and illustrations, has introduced many innovative techniques for producing information signs . He used a simple but sophisticated color scheme that helped to attract and focus the attention of the viewers. His elegant choice of lettering together with geometric compositions created powerful images that were aesthetically pleasing.
Ostseebad; Travemunde, 1935
Mahlau studied at "Staatliche Kunstschule" in Berlin, and after World War I worked predominantly in Lübeck as a painter and graphic artist. Some of his clients included the Schwartauer Werke, a food manufacturer who still use the logo he designed for them. He also designed the identity for the Niederegger marzipan and sweets maker, another identity still in use. In 1946, he began teaching at the College of Fine Arts in Hamburg. He also had designed patterns for textiles, did set design, and created the stained-glass windows in the Lübeck Marienkirche (St. Mary's Church in Lübeck). Mahlau also did many illustrations for various books, including some children's books. His work is collected by the Busch-Reisinger Museum, among others.
Norcische Woche, Lubeck, 1921
Will Burtin(1908, 1972), was born in Cologne. He was a graphic designer for Fortune magazine and the Upjohn Company, specializing in "scientific visualization." He pioneered important contributions to international typography and visual design, and is best known as the world leader in using design to interpret science. He was a proponent of 'clean', uncluttered sans-serif typography; and for his large-scale three-dimensional models, which carried the craft and the art of display to new heights.
Burtin enroled at Handwerkskammer Köln to study typography in 1922, and at the same time started his apprenticeship in typesetting studio of Dr. Philippe Knöll, in Cologne. After graduation in 1926 he began to study graphic and industrial design at the Kölner Werkschulen with Richard Riemerschmied and Jacob Erbar. In 1927, he set up a design studio in Cologne, creating booklets, posters, type books, exhibitions, displays, advertising and movies in German and French. His studio became so successful that Josef Goebbels asked him to become design director at the German Propaganda Ministry. In 1938, when Hitler repeated the invitation, Burtin and his wife Hilde Munk Burtin made their hasty escape to United States, with the help of his wife's relative Max Munk, aeronautics pioneer and inventor of the wind tunnel.Immediately after after arriving in New York, Within a short period after arriving in New York, he Designed FlexOprop logo, trademark of Munk Aeronautical Laboratory. Shortly afterward he landed contract to design Federal Works Agency Exhibition for U.S. Pavilion at New York World's Fair. In 1939, he began to teach communication design at Pratt Institute, New York.
Soon after, had designed Upjohn's entire product line of medicine bottles, ointment tubes and packaging - and even the company letterhead. He was drafted into the US Army in 1943,where he designed training manuals for aerial gunners. Fortune magazine asked the army to release him "in the national interest", and he became Fortune's art editor. In 1947, Burtin commissioned Lester Beall to create the Modernist "British Railways" cover for the April issue of Fortune magazine, which represents a fine example of the graphic "layering" technique. He developed a design philosphy called Integration, in which the designer conveyed information with visual communication that is based on four principal realities.
The four realities:
the reality of man as measure and measurer
the reality of light, color, texture
the reality of space, motion, time
the reality of science
Using this approach to design problems was essentially the birth of what later became known as multimedia. By integrating all four realities into a design solution, Burtin could solve seemingly insoluble puzzles.
Burtin was truly dedicated to his profession. It is said of him that he was so meticulous that at Fortune a "Burtin" was the term used to describe a particle smaller than a point. He had left no stone unturned to produce an elegant and superb design. He loved graphic design and he was not doing it for money, in fact he never made a fortune. He had a curious, inquiring mind, and was enchanted by the scientific discoveries and loved to study and work with new materials. According to architect Serge Chermayeff Burtin was interesred in the
"new art of visualization, of giving visual form in two and three dimensions to a message, which may be apprehended simultaneously through the senses and the intellect and is the product of a new kind of artist functionary evolved by our complex society. Among the small band of pioneers who have developed this new language by bringing patient research and brilliant inventiveness is Will Burtin."
A chart comparing the impacts of penicillin, streptomycin and neomycin on bacteria.
In 1957, Burtin convinced Upjohn's president Jack Gauntlett and Dr. Garrard Macleod, director of special projects, to finance the construction of a large-scale scientific model of a human red blood cell 24 feet across and 12 feet high, and it was here, that according to Remington and Fripp,
"that the modern concept of scientific visualization was born".
In this, he visualized the relationship between spatial forms and their functions, and with his visionary insights simplified the scientific communications.
His walk-thru model - built of plastic tubing, wires and colored lights - one million times larger than life, was unveiled in September 1958 at the American Medical Association's meeting in San Francisco. It was a sensation, and would eventually pave the way for Burtin to create four more sophisticated scientific models of the brain, the metabolism and blood vessels for Upjohn and an atomic energy model for Union Carbide. In short, Burtin was an innovator in the field of information design who can rightly be described as visionary.
Go to the next chapter; Chapter 20 - Pictograms in Olympics
Nader Vossoughian, Otto Neurath: The Language of the Global Polis, NAi Publishers (July 1, 2008) ISBN 9056623508 ISBN 978-9056623500
Ellen Lupton, Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs), Princeton Architectural Press; 1 edition (September 9, 2004), ISBN 1568984480, ISBN 978-1568984483
Remington, R. Roger and Robert S.P. Fripp, Design and Science; The Life and Work of Will Burtin, published by Lund Humphries (London) and Ashgate Publishing (New York) ,2007, ISBN: 978-0-85331-968-9
Posted by Guity Novin
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Prelude - In the Beginning: - A History of Writing
Chapter 1 - Birth of Graphic Design --From Cro-Magnon Art to Egypt
Chapter2: The Medium is the Message; A Philosophical Underpinng of Visusl Communication
Chapter 3 - A Symbiotic Relationship: Codices and Manuscript Books
Chapter 4 - The Islamic Calligraphy
Chapter 5 - Calligraphy in East Asia
Chapter 6 - Cartography and Designing of Maps
Chapter 7 - Playing Cards
Chapter 8 - Tarot Cards and Mithraism
Chapter 9 - The Byzantine Art
Chapter 10 - The Art of Minature
Chapter 11 - Woodblock Prints of China and Japan
Chapter 12 - Graphic Design in Ceramics
Chapter 13 - Native American Pottery
Chapter 14 - The Mayan, Aztecs, and Incas' Art
Chapter 15 - African Art
Chapter 16 - Minimalism
Chapter 17 - Communications: from Speech to Pictogram and Heraldic Signs
Chapter 18 - Logotypes and Branding
Chapter 19 - The Viennese Method
Chapter 20 - Pictograms in Olympics
Chapter 21 - Astronomical, Statistical and Scientific
Chapter 22 - Pioneers of the modern industrial design, The Bauhaus school, Le Corbusier and The American Streamline Style.
Chapter 23 - Ancient Rock Reliefs
Chapter 24 - Emergence of the Modern Print
Chapter 25 - Pioneers of the Art Nouveau, Chromolithography and the emergence of the modern poster and cigar box labels
Chapter 26 - The US Pioneers of Posters
Chapter 27 - Gustav Klimt, and the Vienna Secession
Chapter 28 - Poster Art as Social Commentary
Chapter 29 - Propaganda Posters
Chapter 30 - Posters and the Cult of Personality
Chapter 31 - The German Jugendstil and Plakatstil Movements
Chapter 32 - Pioneers of Advertisement Posters and Newspaper Layout
Chapter 33 - Pop Art
Chapter 34- Graphic Designers in the Fashion Industry
Chapter 35 - Graffiti and Street Art
Chapter 36 - Art of Posters for Films - the Cuban School
Chapter 37 - the Polish School and the Polish Art of Opera, Film and Circus Posters
Chapter 38 - Saul Bass, and the Art of Film Title Sequence & Film Poster
Chapter 39 - A History of Film Title Sequence
Chapter 40; A history of Caricatures, and Political Cartoons
Chapter 41. A History of the Comic Strips and the Underground Comix
Chapter 42; The Swiss Grid System -- and the Dutch Total Grid
Chapter 43: Graphic Design and the Postmodern Epoch
Chapter 44; The Italian Futurist Visual Design
Chapter 45; Dadaism; The meeting point of all contradictions
Chapter 46: A history of the American Movie Posters
Chapter 47: Artists and Creators of American Movie Posters
Chapter 48 : Graphic design in the Latin America, Part I; Colombia, Peru, Venezuela & Mexico
Chapter 49 : Graphic design in the Latin America, Part II; Cuba, Argentina, Brazil & Chile
Chapter 50:The Art Body Painting
Chapter 51: A History of Matchboxes
Chapter 52: A History of Eastern European Matchboxes
Chapter 53: From French School to French Touch: A history of Graphic Design in France
Chapter 54: A history of Typeface
Chapter 55: Design for Book Covers and Dust Jackets
Chapter 56; A visual history of letterheads and billheads
Chapter 57: The Portugese School of Graphic Design
Chapter 58 ; Modern Newspaper & Magazine Layouts
Chapter 59: Presidential Election Camaign Posters
Chapter 60: Posters in Social Protests
Chapter 61 : A History of Wine Labels
Chapter 62; Modern Graphic Design in Japan
Chapter 63: Posters of the Russian Civil War of 1917-1921
Chapter 64; A History of Magazine Covers
Chapter 65: User Interface Design: Skeuomorphic and Flat design versus Good Design!
Chapter 66: Bézier Curves for digital Typography
Chapter 67: Cover Design of European and Latin American Magazines
Chapter 68: Is Graphic Design Art?
Chapter 69; Appropriation, Plagiarism and Code of Ethics
Chapter 70; Posters of the Spanish Civil War
Chapter 71; A History of Magic and Posters of Magic
Chapter 72: A History of Records Covers
Chapter 73 : Traditional Graphic Design versus Digital Graphic Design
Capter 74: Photographers and Graphic Design
Chapter 75: A History of Jewellery Design
Chapter 76; Graphic Design for Textile
Chapter 77: The designer as 'author'
Chapter 78; Navajo Indians' sand painting
Chapter 79, A History of Color, Color Wheel, and Psychological Impact of Color
Chapter 80, State Plates Project
Chapter 81: Living in a graphic universe: the earth houses of Gurunsi people
Chapter 82, Graphic Design and Layout of eBooks in the Smart Reading Devices of Future
Chapter 83 - History of modern package design
Chapter 84: The San Francisco School - Psychedelic Revolution
Chapter 85: Graphic Design in the Lost Civilization of Etruscan
Chapter 86: A History of German Expressionist Movie Posters and Afterward.
Chapter 87: Art in Alchemy: Visual Communication of Symbols
Chapter 88:Visual Communication in Mysterious and Majestic Bayeux Tapestry
Chapter 89 : A History of Travel Posters
Chapter 90: The Intertwining of History and Posters in Latvia
Chapter 91: Visual Communications in Branding of Airlines
Chapter 92: A history of Paisley or Boteh Jegheh Design
Chapter 93: Posters commemorating 9.11
Chapter 94: A History of Judaic Art and Manuscripts
chapter 95: a brief history of royal decorations, military badges and lapel pins
About Guity Novin
Guity Novin, is a painter and graphic designer, who has founded the Transpressionism. A movement in painting that demands from its viewers to participate in the creation of art through the conduit of their common human memories. For further information please see: guitynovin.com and transpressionism.com Tweet
Licensed under CC 2.0. Attribute Guity Novin, 2016. Powered by Blogger.


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