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Look Online: "Harry Benson: Behind The Scenes" Photo Exhibition At Staley-Wise Gallery
Bill Blass, New York, 1980
Iconic photographer Harry Benson, who just celebrated his 90th birthday (December 2), took a very fashionable victory stroll (victory strut?) last night at the opening of "Harry Benson: Behind the Scenes," his latest Staley-Wise Gallery exhibition (through January 20).
Although he is best known for photographing The Beatles (1964's "The Pillow Fight" ranks in TIME 100 Photos), and as a witness to history in the aftermath of the assassination of Robert Kennedy (1968) — this exhibition shows another fascinating yet lesser known catalog of his reportage work. This prolific lensman's work has appeared in LIFE, Vanity Fair, The New Yorker, and graced over a hundred People covers.
Staley-Wise has been known to showcase Benson's work often, but not like this. A gallery spokesperson told me that they wanted to mark his nonagenarian status in style with "something a little different." This collection of photos, including some "newly uncovered negatives with these images" – form a fantastic photojournalism essay of the fashion world in its last half-century past almost to the present.
While there are several examples from the 1960's (Jean Shrimpton in Bryant Park, 1968; Collen Osbourne, Peggy Moffitt, and Sonia Pugin, New York 1967), or late '70's (Emanuel Ungaro with Models, 1977; Karl Lagerfeld and Liz Tilberis, Paris, 1977; Verushka, Giorgio Sant'Angelo, and Ara Gallant, New York, 1977), the mother lode is a concentration from that "golden age of American fashion" – the 1980's and '90s. There are also a few photos from 2011-12.
Included here are Halston, Ralph Lauren, Calvin Klein, Bill Blass, Geoffrey Beene, Oscar de la Renta, Carolina Herrera, Galanos, Mary McFadden and Donna Karan; in addition to the European greats Yves St. Laurent, Madame Grès, Pierre Cardin, Courrèges, Valentino, Armani, and Vivienne Westwood – mostly like you've never seen them before.
A combination of candids and posed photos tell the story of what it was like as the title says "behind the scenes," backstage as the models are assembling for a runway show; up close and personal with supermodels Beverly Johnson, Cindy Crawford, Kate Moss, and the "Halstonettes."
There are shots of designers in their workroom; fashion editors and publishers including Diana Vreeland, John Fairchild, Liz Tilberis, Anna Wintour, and André Leon Talley– making you feel like you're experiencing it right there with them. If you gaze at these photos for a while, you can almost hear the dialogue – they're that evocative!
Friends, associates, family (wife Gigi who runs his business), two daughters along with Benson's grandchildren in tow, came out to fete him. Fashion world notables designer Mary McFadden; several fashion models past and present,(including a woman who posed for him when she was 15), photographers Rose Hartman and Firooz Zahedi; documentary filmmakers of Benson's 2016 "Shoot First" Justin Bare and Matthew Miele, and several familiar-looking socialites also attended.
It was interesting to stand back and just watch the well-earned good cheer and respect that the ever-spry Benson received amongst his peers and well-wishers of varying ages. His remarkable energy was attributed by one attendee (whose uncle worked with Benson back in the day) to being from Glasgow.
"He still has that creative eye – that creative vision," she remarked. I couldn't believe he could stand for the two-hour reception – something that I confess is often difficult for those half his age.
A Benson daughter pointed out the aforementioned "Pillow Fight" photo to her young son. The scene: George V Hotel in Paris — taken immediately after John, Paul, Ringo, and George heard that "I Want to Hold Your Hand" had hit No. 1 in the US). "That's one of my favorite photos from grandpa," she told him. I thought of how weird it must be to have to try to explain the phenomenon of The Beatles to a wee tot in short pants.
Another attendee remarked over how Benson had "captured the heyday of fashion. Look, there's Christian Lacroix right there!" he said, pointing to the wall photo. While I'm sure it would be nice to hear Benson recount, in his lilting, expletive-laced Scottish accent, the genesis of many of these works, it's almost not necessary — "every picture tells a story. "Don't it?" to quote Rod Stewart. A woman photographer told me that she admired Benson's salty tongue. "I love that he curses," she said. "It's so cool."
Interestingly, when Benson first started out, he had hoped for a "more serious" assignment – a war zone in Africa rather than to America to cover the Fab Four. As fate would have it, he accompanied them to New York for their first appearance on the Ed Sullivan Show, realizing that he was witnessing the British Invasion. "I had come so close to not being there," he later admitted.
Among his many recognitions, Benson was appointed Commander of the Order of the British Empire (2009), having gone back way back with the Queen. He first photographed Her Majesty in 1957 as she opened a coal mine –50 years later (in 2014) he was commissioned to take her official portrait photograph for the Scottish National Portrait Gallery. Fun Fact: Benson has also taken photos of every sitting president since Eisenhower, although his controversial photos of Trump (so far) were pre-presidency. No word on whether his immediate future involves a trip to the White House.
Behind the Scenes December 12, 2019 - January 25, 2020


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Home / Music
An Interview with Ciaran Austin
by Aaron Loose
As a regular on BBC Introducing Devon's playlists and a fixture of Exeter's local music scene, Ciaran Austin is among the most distinctive artists our town has ever produced. Exeposé sat down with Exeter graduation turned soul rapper to talk about independent music making, Stevie Wonder, and his new collaboration with Heavitree singer-songwriter Sadie Horler, 'Golden Hour Winter'.
Exeposé: So to start from the beginning: how did you start in music? What made you decide that you wanted to pursue a creative career?
Ciaran Austin: Well, it was a hobby for me when I started out. I took music tech in year 12, But it has only been in the past year or couple of years that I've been taking it a bit more seriously. But it's always been a thing I've done on the side, just trying to kind of learn and teach myself how to do editing.
E: So what's it like, then, being an independent artist? Somebody who writes the raps, produces the beats, and so forth. How do you support yourself in that kind of lifestyle?
CA: It's an ongoing learning process, really… I've always wanted to do everything because I like to have control over how everything sounds. It means that you progress perhaps a bit more slowly because you've obviously got so much more to try and progress in as opposed to just doing one thing. If I was just producing, then it'd just be a lot easier to get stuff off the ground, but I think if you decide you want to do everything yourself, it just takes a bit longer. But yeah, in terms of supporting myself, I guess it's just – I don't think it's realistic to expect that you could do music full-time in my position! It's just so difficult financially and stuff. It's going to take a couple more years.
E: Who are your influences? Because listening to tracks like 'Over' and 'Full Circle', there is kind of a neo-soul kind of vibe.
CA: Yeah, definitely, that's kind of the music, my Dad's always played a lot of kind of soul music and funk and disco in the house. So I think I've definitely picked up on some of that… certainly more so in the past couple of years. I've actually got this EP coming out in March hopefully, and one of the songs on there is really disco-influenced, which I'm reallu excited about. I just love music general, but mostly there's the real soul kind of funk-disco side, like Stevie Wonder, Chic, all that kind of stuff, and then I'm also really into electronic as well.
E: Growing up in High Wycombe, you know, a very multicultural city and centre of alt-hip hop in this country. Was that ever an interest for you? Did that ever kind of shape your interest at all?
CA: So I live in High Wycombe, as you said. It's very close to London, but it's not necessarily in London, so a half-an-hour train journey away. But yeah, I've grown up going into London a lot, and I've been working in London and everything. I'm hoping to move into London as well soon. And like, it's a real kind of creative energy to it, and I always feel very inspired there. So I definitely will say that certainly recently, I do feel quite inspired by London as a place.
E: You have a new single coming out soon with Sadie Horler. How did that come about?
CA: Yeah, we had been saying for ages, because we've been doing quite a few gigs together over the past five years in Exeter, that we should get together and try to write a song. But that wasn't possible with this song because it was all quite last minute, and I was desperate to get a song with her. So it was quite urgent that we got this done. So, I kind of made a beat, put down my verses and sent it over to her. And she just sang the chorus and we're hoping we'll have a video for it was well. It's just difficult when you're so far away. But I'm really excited for this song. It's really thanks to things like the Music Day event which you guys put on which allowed us to keep on performing together.
we had been saying for ages that we should get together and try to write a song
E: It was fun! So how do you work with guest vocalists, then? Do you send the beat first, and they get free rein, to put their stamp on the song?
CA: It depends, really. When I was studying, the singers on the songs were all students as well, so it was very easy just to go to Kay House. We'd just go into a practice room, and then we'd do it together. So for the songs with Felicity and Mo, we were both there and we'd just come up with ideas on the spot. But now, obviously, it just depends really. I have sessions with other musicians in London, where we write together, or I just send them the beat and then do it over the Internet, which works as well. But it's always better to be in the room with somebody. It's a more authentic and more enjoyable process. But that's not always possible.
E: So as a songwriter, what comes first? Is it the beat, or is it the writing?
CA: Normally it's producing. So I normally just sit at a piano or keyboard or whatever and try and play some chords, and then if I find a nice chord progression or if there's a nice groove that we've come up with, or bass line or something, that starts off the song. And then from there onwards it's writing. I find it very difficult to write lyrics without having any music to write to. But I'm trying to learn to do that a bit more, because writing that way means that you're readier to record, because you've obviously got a lot more stuff ready to go with. I always played piano growing up, so it's always been a very strong part of it for me, to produce my stuff as well. And with Jamie White, obviously as well, he plays guitar when we do live stuff, and he's producing with me now.
E: How did you two meet?
CA: We were just on the same course at Exeter, and then Jamie had heard – because when I was at Exeter I was very sporadically putting stuff up to Soundcloud, I wasn't really taking music that seriously. I think it was the second term of final year – when he'd started to listen to some stuff and said "you should really consider taking this more seriously, and try to get a more professional sound, do live gigs." So we just kind of started from there. So that's when we kind of put a band together, did Firehouse and Enchanted Garden Ball, the great Exeter circuit. We did some stuff in London.
E: Hearing the lyrics, especially on the new song: 'Time's a low feeling, feeling lonely as hell, your time will come but time will tell', it's quite vulnerable. I think there's a striking kind of confessional tone to it. Is it hard to be so open on mic?
CA: Yes and no. To me it's quite natural, to be honest, because that's the music I kind of gravitate towards and I've enjoyed listening to. It's that music where it's really open and soulful and you feel it's intimate and you actually feel like you can really resonate with what people are saying. Not to be that guy that hates pop music, but you know – sometimes you listen to pop songs and the lyrics aren't so open and inviting, and it's a bit more superficial. Which is fine. But the real kind of soulful side is the stuff that I really like.
So I just try and just be open in song-writing, because I feel like that's the way to really communicate with people. I feel like there are things which everybody goes through, and music for me has been a really good way to process stuff. I think it's the same for a lot of people who write music, it's kind of a therapeutic thing. Not to say that… I sound like I'm really troubled! I think it's just important to be open and not to really hold anything back, because that's one of the great things about song-writing is that you can really connect with another person.
sometimes you listen to pop songs and the lyrics aren't open and inviting… it's a bit more superficial
E: I totally agree! Another thing I picked out is that listening to some songs and your stuff like 'Full Circle', is that you often write nostalgically. What keeps you going back to the past?
CA: That's a good question! I think for me, music is a way to really process past events and memories and past feelings. You know, if you're living an event or an experience or a situation, you're completely immersed in it, and it's only afterwards when you look back on it and you can kind of process what you were feeling at the time… It's good to look behind you and process things… Music, for me, is a way to really set a – I don't know how to explain this properly, but it's something that kind of holds all your past experiences together. If you're writing about something, it's a way to really process what has happened in the past, and you can really see and feel where you were at a certain point in history and how you're progressing and moving forward. I don't know if that makes sense, it's not a clear answer. I need to think about that a bit more!
music is a way to really process past events and memories and past feelings
E: No, I think that's interesting because it is like that, isn't it? Music is a way of marking a moment in time.
CA: This is also why I like music. Because I don't feel like a good communicator, but then music is – because you're forced to be concise and get your message across, and it all rhymes; it's all in time and everything. That's why I really like it as well, because it forces me to think in that way as opposed to kind of waffling on.
E: I hear that. So I guess I want to ask: you're quite politically outspoken online, which is kind of interesting. Do you think artists like yourself, any artist, has a responsibility to address things like Brexit and so forth? Because obviously your music itself is quite upbeat, and forward-looking, and at the same time you must address the real world, maybe?
CA: I'm not entirely sure about that, because I don't really think that I'm overtly outspoken in terms of political or social things in music. Yeah, I do feel quite strongly about a lot of social issues. And if music, in the future, is a way to address those things, then that can very feasibly happen. Because I'm still really developing and learning and trying to improve and everything, I want to make sure that I'm really satisfied with how stuff is sonically before I rush into making big statements about any of that kind of stuff in music. Of course, I do feel very strongly about a lot of political issues, and I do like music which addresses that, but I think you do have to be so articulate and well-informed and a really strong communicator in order to not come off in like a preachy way, or too overtly sanctimonious.
E: How important was it for you to get that BBC Introducing co-sign? What did that feel like, to get that exposure?
CA: It's great. It must have been February in my final year at university when I sent a song off to them and it got played for the first time. And that really opened my eyes too. I was so unaware of any of that kind of stuff, because as I was saying, it was always just a bit of a hobby. I'd just make a song one morning and stick it up on Soundcloud, and it wouldn't really go much further than that, that would just be it. But then when you start realising that there's a local radio and they can feature your songs, and it can go on from there. Yeah, it was an eye-opening moment for me. And, yeah, very kind of surreal and I'm really grateful, because they're so supportive, BBC Introducing. And it's led on to being played on 6 Music, as well, and getting support from them. It's an incredible platform, they really do support and give confidence to young, emerging musicians. I love it, it's really good.
I was so unaware of any of that kind of stuff… it was always just a bit of a hobby
E: That's really cool. So I guess just to maybe round it off gently, obviously increased radio play, the 6 Music co-sign, your following is growing on SoundCloud and on streaming sites. You've launched a page on Facebook now, I think recently. So what's next for you? What's kind of the ultimate goal for your music, do you think?
CA: I don't know about ultimate goal. I'm just very focused on really pushing myself to improve as much as I can. I just want to work really hard, and I've got, in the immediate future, this EP which will be out in March which will have the single with Sadie that is out next week, and three other songs as well. And just to keep pushing myself to be a better writer, be a better producer. We've got gigs coming up upstairs at Roy Scott's again in London, which I'm looking forward to. I don't know about ultimate goals, because nothing is guaranteed, the music industry is quite fickle. I don't know about making massive goals, because if it doesn't happen you're going to be crushed. The guarantee of anything happening is – there's so much competition and you have to have a really strong team around you, and you have to have everything in place, for all of your releases, for them to be received well, just because everyone's releasing music all the time.
And as someone who's not got management or a label currently, how do you actually increase your visibility, and increase your chances of being streamed and everything? With Spotify playlists, for example, they have had their songs probably pitched to the people that run the playlists by a PR company, or they've got really good management in place, so I think if there's a goal, it's that by this time next year I've got kind of a team or management in place, just to allow me to have a better reception to stuff. I'm dedicated to improving as much as I can, but unless you've got some sort of infrastructure around you to help, it is very difficult being completely independent. It's fine, it's completely fine to be independent in the sense of not being signed to a major label. You could be signed to an independent label, a good independent label, and have management and have strong PR. But that's just something that will probably come in the future. I've only been taking it seriously for that long, so it's all about being patient, I think, and we'll just see what happens.
nothing is guaranteed, the music industry is quite fickle
E: That's great, Ciaran, thank you so much for taking the time to talk to us!
About Aaron Loose
Print Editor 2019/20.


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5A may refer to :

 AAAAA Tourist Attractions of China (5A), tourist attractions in the highest official rating category in the People's Republic of China
 Alpine Air Express IATA airline designator
 Vermont Route 5A
 New York State Route 5A
 British Columbia Highway 5A
 Florida State Road 5A
 GCR Class 5A, a class of British 0-6-0T steam locomotive
 5A (drum stick), the most general purpose stick
 RTS-5A, a former South Australian television station (now WIN SA)
 Libya (aircraft registration prefix 5A)
5A, the production code for the 1978 Doctor Who serial The Ribos Operation

See also
A5 (disambiguation)

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2019 Jaguar F Type
2019 Jaguar F-TYPE Inventory
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Kemik iliği supresyonu: Lökopeni (sık) Trombositopeni Hepatotoksisite Alopesi Gastrointestinal toksisite, pankreatitis Ürtiker, makulopapuler rash İnfeksiyonlar (özellikle varicella ve herpes simplex) Kanser riskinde artış Allopurinol ile beraber kullanılmamalıdır. !!
34 CsA-TACROLİMUS Arasında Fark Var mı ?
35 CsA- Tacrolimus Arasında Anlamlı Fark bulunamadı.
IL-2 transcription Cyclosporine: Cyclophilin CYP CsA TCR Donor antigen Calcium-dependent pathway Activation Upregulation FKBP TAC NFAT Calcineurin Ribosomal proteins Translation initiation Cyclin-dependent kinases TOR SRL Proliferation Signal TAC: FKBP IL-2 production This slide compares the mechanism of these three immunosuppressive agents. Cyclosporine: cyclophilin and tacrolimus:FKBP12 complexes, both from a ternary interaction with calcineurin. Calcineurin is calmoduline-calcium-dependent phosphatase that is needed to dephosphorylate the Nuclear Factor of Activation of T cell (NFAT). Dephosphorylation allows the translocation of NFAT to the nucleus and initiation of transcription of IL-2. In activation by formation to ternary complex, the transcription of IL-2 is blocked. Cyclosporine and Tacrolimus block the transcription of several other cytokines. Sirolimus:FKPB12 complex on the other hand has no effect on calcineurin. Sirolimus:FKPB12 complex interacts with and blocks the activation of a pivotal cell cycle kinase that was named after rapamycin mammalian Target OF Rapamycin.
PRİMER BİLİER SİROZ DR ERİM GÜLCAN.
İNDÜKSİYON TEDAVİSİ: KİME VE NE ZAMAN UYGULANMALI?


More than 50 million Americans have some type of allergy, making it the sixth leading cause of chronic illness in the United States today. The prevalence of allergies is also continuously on the rise, meaning an ever-larger percentage of people can expect to develop them with each passing year.
Allergies occur when your immune system overreacts to a normally harmless substance (allergen) like pollen, dust, animal dander, or mold. You can be born with an allergy, or you can develop one at any point during your life — even in late adulthood. Allergies are a chronic condition, and many people who have allergies have more than one type.
While there's no way to prevent allergies, the right management plan can help reduce your risk of having a reaction and provide fast symptom relief when you do come in contact with an allergen. For people who suffer from environmental allergies, immunotherapy can help increase tolerance to the allergen and build lasting immunity.
Here at Family Practice Associates, we're proud to offer sublingual immunotherapy (SLIT), a safe and effective alternative to allergy shots that can help you say goodbye to your allergies for good. If that sounds appealing, here's what you should to know about this easy, innovative treatment.
Sublingual immunotherapy uses a custom liquid anti-allergy medication that matches your "allergic fingerprint" to reduce symptoms and help your body gradually build tolerance to your allergens.
Also known as allergy drops, SLIT works in much the same way as allergy shots. But instead of being administered via injection, the liquid antigens used in SLIT are placed under your tongue, where they're quickly absorbed by your body.
SLIT allergy treatment increases your tolerance to particular allergens by targeting cells -- called dendritic cells -- that help your immune system "get used to" your allergens. The area beneath your tongue is home to the highest concentration of dendritic cells in your entire body. When those cells are routinely bathed in a custom-made solution of allergy drops that addresses your unique blend of allergies, your body begins to increase its tolerance to the substances that cause your allergic reactions.
Because it takes time for your body to build lasting immunity to allergens, SLIT is given in gradually increasing dosages until you've reached optimal tolerance levels — meaning you're no longer at risk of having an allergic reaction.
SLIT is a safe and effective treatment for virtually anyone who suffers from environmental allergies like pollen, ragweed, mold, dust mites, grass, and animal dander. It's especially beneficial for people whose allergies are accompanied by a chronic condition, such as asthma or sinusitis. It's also an ideal solution for those with multiple environmental allergies.
Because it doesn't involve injections, SLIT is an excellent option for babies, children, and needle-phobic adults. For this reason, and because some people simply aren't able to commit to an in-office allergy shot program, the World Health Organization (WHO) recommends SLIT as a practical alternative to traditional allergen injection immunotherapy.
SLIT is also considered the treatment of choice for young children affected by eczema and recurrent ear infections, a combination that often arises from underlying allergies. In such cases, early treatment can help prevent the development of other allergies, asthma, and other chronic conditions later in life.
After in-office allergy testing confirms your specific allergies and level of sensitivity, we make a custom-mixed vial of allergy drops that directly correspond to your unique allergic fingerprint.
Then, in the convenience of your own home, you take the drops under your tongue every day (or as directed, depending on your personal needs) for a certain period of time. The first four months of treatment is known as the escalation phase, and during this time we slowly increase your dosage.
Then comes the maintenance phase, where you take the same dosage each day to help build long-term immunity. To achieve full and lasting immunity, most people require three to five years of allergy drop therapy.
To find out how SLIT allergy treatment can benefit you, call our office in Broomfield, Colorado, or use our easy online tool to schedule an appointment with Dr. Abrams.


(a) The game shall start at the scheduled time with a face-off conducted at the center ice face-off spot. The maximum length of a game shall be three 20-minute periods with a 15-minute intermission, allowing for an ice resurface, between each period. Each period shall start promptly at the end of the intermission with a face-off conducted at the center ice face-off spot.
(b) Three minutes prior to the start of the game and each period, each team shall be notified so they can return to the ice in time to start the game promptly at the conclusion of the intermission. It is recommended that the intermission time be placed on the game clock in an effort to keep teams and spectators informed.
Any team that has not returned to the ice, without proper justification, and is prepared to play at the conclusion of the intermission shall, after a warning by the Official, be assessed a bench minor penalty for delay of game.
(c) Prior to the start of the game, each team is provided an opportunity to warm-up (maximum of 20 minutes) on their half of the rink. The length of the warm-up time and decision to resurface the ice (15-minute intermission) or begin the game immediately shall be agreed upon by both teams or determined by the Proper Authorities prior to the game.
(d) Each team shall defend the goal closest to its bench for the start of the game unless the benches are on the opposite side of the ice. Then the home team shall choose which end to defend. The teams shall switch ends for the start of each subsequent period.
The home team shall enter the ice surface first and if both teams are to leave the ice through a common exit, it is recommended that the team whose bench is closest to the exit shall leave the ice first.
(e) If in the opinion of the Officials, conditions are more favorable at one end of the rink, the officials may have the teams change ends at the midway point of the third period and during each overtime period so each team has an equal opportunity to play with the advantage. This changing of ends should occur at the exact midpoint of the period.
If any unusual delay occurs in the first or second periods, the Officials may order the next regular intermission to be taken immediately. The remainder of the period will be completed upon the conclusion of the intermission with the teams defending the same goals. At the conclusion of that period, the teams will change ends and resume play for the next period without any delay.
If in the opinion of the officials, the playing conditions (such as ice conditions, broken boards/glass or weather) become unsatisfactory during the course of the game, the game may be suspended and the conditions reported to the Proper Authorities.
(f) Each team is permitted one time-out of 60 seconds duration during the game whether in regulation play or overtime. For time curfew games, no time-outs shall be permitted.
Time-outs must be requested during a stoppage of play prior to the conclusion of the line change procedure. If a team were to request to use their time-out during the same stoppage of play as their opponent, this request must be made prior to the conclusion of the first time-out.
Either team may use a time-out for the purpose of warming up their goalkeeper. However, no more than four pucks per team shall be allowed for this purpose. Non-penalized players and goalkeepers may proceed to their respective players' bench during any time-out.


Psychological drama from director Lynne Ramsay.
A traumatized veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe's nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening. Psychological drama from director Lynne Ramsay.


John Dee was principal oboe of the Florida Philharmonic Orchestra and Florida Grand Opera while also Oboe Professor at the University of Miami and the Harid Conservatory of Music for over twenty years. Before this, he was principal oboe of the Florida Orchestra in Tampa, the Civic Orchestra of Chicago and the Ravinia Festival Orchestra.
He has collaborated with nearly every major performing artist in the world. He has been invited to performed and record with major American orchestras, international string quartets and in major music festivals. He has performed for Pope John Paul II and his solo performances can be seen on the internationally syndicated television series, "The Joy of Music," He has assisted the Yamaha Corporation in the development of their professional model oboe in Japan, has been a featured soloist throughout Italy, performed in Hong Kong, Beijing and Shanghai, China and has returned to Spain and again several times to teach and perform in Korea. His performances have been heard on NPR's Performance Today, he is a regularly invited guest artist of the IDRS, International Double Reed Society and he often conducts oboe clinics and adjudicates national and international music competitions by invitation.
John was awarded the "2014-2015" CYSO, Chicago Youth Symphony Orchestra, "Outstanding Alumni Achievement Award" at Chicago's Symphony Center, he has received the Outstanding Teacher Award from the National Endowment for the Arts several times and he appears in Who's Who Among America's Teachers. His oboe students have won and occupy prestigious professional positions throughout the world including the Metropolitan Opera Orchestra and the Chicago Symphony Orchestra. He is currently the Visiting Professor of Oboe at DePaul University in Chicago and the Bill A. Nugent Endowed Professor of Music Performance and Professor of Oboe at the University of Illinois.


text:
Schwackenreute ist ein Ortsteil der Gemeinde Mühlingen im baden-württembergischen Landkreis Konstanz in Deutschland.

Geographie
Zur ehemaligen Gemeinde Schwackenreute gehören das Dorf "Schwackenreute", der Weiler "Stohrenhof", die Höfe "Mühle" und "Neuhäuslerhof" sowie die Wüstung "Mangenhof".

Geographische Lage
Schwackenreute liegt im Nordosten des Hegaus, am Übergang zum Linzgau, etwa anderthalb Kilometer östlich der Mühlinger Ortsmitte, auf einer Höhe von bis zu . Früher, im ausgehenden Mittelalter, wurde diese Landschaft nördlich von Stockach als das "Madach" bezeichnet.

Im Westen grenzt Schwackenreute an Mühlingen, im Südwesten an den Ortsteil Mühlweiler, im Süden an den Ortsteil Zoznegg, im Osten an die Gemeinde Hohenfels sowie im Nordosten an Sauldorf im Landkreis Sigmaringen.

Geologie

Im Wesentlichen liegt Schwackenreute im Bereich der Überlinger Gletscherzunge des Rheingletschers; regionalgeologisch bedeutet das: am Nordrand der Äußeren Jungmoräne bzw. des voralpinen Molassebeckens.

Gewässer
Durch den Ort fließt die nordöstlich, im Bereich der Europäischen Wasserscheide entspringende Stockacher Aach. Sie nimmt in Schwackenreute das von Norden zufließende "Talbächlein" auf.

Schutzgebiete
In Schwackenreute sind neben mehreren Biotopen, das Naturdenkmal "Stohrenbühl", das FFH-Gebiet "Ablach, Baggerseen und Waltere Moor" sowie das Naturschutzgebiet "Schwackenreuter Baggerseen-Rübelisbach" ausgewiesen.

Geschichte

Schwackenreute ist eine Rodungssiedlung des 9./10. Jahrhunderts, 1437 wurde sie erstmals in einer Urkunde erwähnt: die Brüder Albrecht, Kaspar und Ortlof von Heudorf zu Waldsberg verkauften den Ort mit den Höfen Etschtreu und Waldhof an Johann Brotbeck d. J. von Stockach.

Im 15. Jahrhundert kam die Rodungssiedlung an die Grafen von Nellenburg, die sie 1538 an die Stadt Radolfzell verkauften.

Von den zu Schwackenreute zählenden Höfen Mühle, Neuhäuslerhof und Stohrenhöfe waren die letzteren seit 1548 nachweisbare bis 1802/03 Besitzungen des Klosters Salem.

Die Mediatisierung aufgrund des Reichsdeputationshauptschlusses führte 1810 zur Zugehörigkeit zum Großherzogtum Baden. 1843 kam der Ort zum Bezirksamt Stockach, das 1939 in Landkreis Stockach umbenannt wurde.

Bei der Auflösung des Landkreises Stockach im Zuge der baden-württembergischen Kreisreform 1973 kam das Dorf zum Landkreis Konstanz.

Am 1. Januar 1974 wurde die Gemeinde Mühlingen durch Vereinigung der Gemeinden Mühlingen, Mainwangen und Gallmannsweil neu gebildet. Die heutige Gemeinde entstand am 1. Januar 1975 durch Vereinigung dieser Gemeinde mit Schwackenreute und Zoznegg.

Name
"Schwaigrüti" (1437), "Schwaigkruti" (1486), "Schwaigrüthi", "Schwagreuthe", "Schwiggereuthe" (1760), "Schwakenreuthe" (1848), "Schwackenreuthe", Schwackenreute: der Name kommt wohl vom althochdeutschen Wort "swaiga" für Viehweide.

Politik

Einwohnerentwicklung
{| width="100%"
| width="33%" valign="top" |
 1705: ?? in sechs Häusern
 1803: 41 in sechs Familien
 1840: 63 katholische Einwohner in je acht Familien und Häusern
 1852: 73 in 18 Familien in 13 Wohngebäuden, alle katholisch
 1871: 124 (62  / 62 )
 1885: 87 in 15 Häusern in 19 Haushaltungen
 1890: 124 (64  / 60 )
 1900: 95 (54  / 66 )
 1905: ?? in 15 Häusern
| width="33%" valign="top" |
 1907: 118 katholische und 5 evangelische Einwohner
 1910: 137 (69  / 68 )
 1925: 126 (67  / 59 )
 1933: 111 (56  / 55 )
 1937: 84 Katholiken
 1939: 92 (48  / 44 )
 1946: 99, davon 55 Wahlberechtigte
 1948: 80 Katholiken und 5 Protestanten
 1950: 92
| width="33%" valign="top" |
 1951: 119 Katholiken und 5 Protestanten
 1956: 121 (64  / 57 )
 1961: 125 (63  / 62 )
 1966: 126
 1968: 103 Katholiken und 3 Protestanten
 1969: 114
 1970: 122 (62  / 60 )
 1977: 108
 1996: 86
|}

Wirtschaft und Infrastruktur

Wirtschaft
Die Schwackenreuter Bürger lebten früher hauptsächlich von der Landwirtschaft. Erst im 19. Jahrhundert nahm die zuvor unbedeutende Viehwirtschaft zu.

Tabelle: Viehstand

1938 betrieben je ein Dachdecker, Gipser, Maler, Maurer und Zimmerer in Schwackenreute ihr Gewerbe. In den Jahren des Zweiten Weltkriegs mussten einige Geschäfte geschlossen werden, so dass das Angebot an Gewerbe- und Handwerksbetrieben nach Kriegsende noch geringer war, sich aber mit der Währungsreform wieder erholte.

Ende 2017 wurde nordöstlich von Schwackenreute ein vier Hektar großes Gewächshaus für Biogemüse von der Vermarktungsgenossenschaft Reichenau Gemüse in Betrieb genommen. Hier sollen jährlich voraussichtlich 600 Tonnen Tomaten, etwa 170 Tonnen Paprika und eine Million Gurken exklusiv für Rewe unter dem Label Naturland geerntet werden.

Post
Vor 1900
Privatpersonen mussten vor 1821 ihre Post auf der Stockacher Postanstalt selbst abgeben. Dann entstand durch die Einrichtung einer Amtsbotenanstalt die Möglichkeit, dass Privatpersonen ihre Post einem Amtsboten übergeben konnten. Dieser brachte die Post anfangs zweimal, später dreimal wöchentlich zur Stockacher Postexpedition.In den 1850er Jahren wurde die Amtbotenanstalt aufgrund stetig zunehmendem Schriftverkehr aufgehoben, ihre Dienste der Post übertragen und zum 1. Mai 1859 die Landpostanstalt ins Leben gerufen. Im Amtsbezirk Stockach wurden fünf Botenbezirke eingerichtet. Jeden Dienstag, Donnerstag und Samstag machte sich der Bote (Botenbezirk No. I) von Stockach auf die Runde über Mahlspüren, Winterspüren und Zoznegg nach Schwackenreute sowie über Hoppetenzell, Zizenhausen und Hindelwangen zurück nach Stockach. Poststücke, die in die Schwackenreuter Brieflade eingeworfen worden waren, wurden vor der Weiterleitung vom Postboten mit dem Uhrradstempel "10." versehen.

Verkehr
Schwackenreute ist über die Bundesstraße 313 (Sauldorf–Stockach) in das Fernstraßennetz eingebunden.

Öffentlicher Personennahverkehr
Vom Verkehrsverbund Hegau-Bodensee (VHB) wird Schwackenreute mehrmals täglich angefahren. Es bestehen Verbindungen nach Stockach, Meßkirch, Mühlingen und Sigmaringen.

Schwackenreute war bis 1971 ein Eisenbahnknoten, an dem die Bahnstrecke Altshausen–Schwackenreute von der Hegau-Ablachtal-Bahn abzweigte. In den 1970er Jahren wurden beide Strecken für den Personenverkehr stillgelegt und später die Schienen Richtung Altshausen demontiert.

Am 17. Juli 2021 wurde die Strecke feierlich wieder für den Personenverkehr reaktiviert: An Sonn- und Feiertagen fahren nun zwischen Mai und Oktober immer drei Zugpaare im Freizeitverkehr unter dem Namen Biberbahn zwischen Stockach und Mengen.

Die gesamte, wechselvolle Geschichte der Bahnstrecke Radolfzell-Schwackenreute-Mengen siehe: Bahnstrecke Radolfzell–Mengen.

Sehenswürdigkeiten

 Die Kapelle "St. Anna" mit Datum von 1712 steht am Abzweig zu den Stohrenhöfen, wohl auf den Fundamenten eines Vorgängerbaus, denn die Heilige Anna wird bereits 1679 als Schutzpatronin genannt.
 Mehrere Flurkreuze an exponierten Stellen, auf Anhöhen und an Weggabelungen in und um Schwackenreute werden heute von der Denkmalpflege zu den Kleindenkmalen gezählt und stehen zum Teil unter Denkmalschutz.

Literatur

Weblinks

 Internetauftritt der Gemeinde Mühlingen
 Virtuelle Tour durch die Gemeinde Mühlingen und ihre Ortsteile

Einzelnachweise

Geographie (Mühlingen)
Ehemalige Gemeinde (Landkreis Konstanz)
Ersterwähnung 1437
Gemeindeauflösung 1975
Ort im Landkreis Konstanz
Ort im Hegau


Millsite State Park - Wag!
Do you love fishing, boating, and enjoying the peace and quiet in the great outdoors? Would you like to experience some of Utah's spectacular natural scenery in a campground where your furry friend is welcome to join you? If you answered yes to these two questions, chances are you'll love visiting Millsite State Park.
Located at the mouth of the Ferron Canyon, this tranquil park provides easy access to the sparkling blue waters of Millsite Reservoir. Covering 435 acres, this lovely lake is a popular draw for anyone who enjoys fishing and boating, with the fishing in particular worth checking out all year round.
If you'd rather stay on dry land, why not play a round of golf at the adjacent Millsite Golf Course? Featuring a dramatic desert landscape, a wonderful waterfall, and a challenging layout, it's a course you'll want to play again and again.
Alternatively, you can bring your mountain bike or off-highway vehicle to explore the miles of trails in Ferron Canyon, or simply enjoy the chance to relax and rest in beautiful natural surroundings.
Located at the southern end of the reservoir, the Millsite State Park offers a scenic spot to rest your head for the night. There are 10 sites with electric and water hookups and another 10 sites with electricity only, while five sites on the outer edges of the large boat parking lot are rented out on a first-come first-served basis during summer. Camping fees vary depending on the site you choose but range from $20 to $25 a night.
Just remember that if you're visiting with your pet, which you're more than welcome to do, you'll need to make sure your canine pal is leashed and under control at all times. Cleaning up after your pooch and disposing of their waste is also a must.
Millsite State Park is a gorgeous park with a wonderfully relaxed and peaceful atmosphere. If you're looking for a pet-friendly campground where you can get away from it all, you've found it!


ANSI/ASHRAE Standard 62.1-2013: Ventilation for Acceptable Indoor Air Quality was updated last year with some important new air filtration requirements. The revised standard calls for filters with higher MERV ratings in an effort to improve HVAC system hygiene and protect building occupants from small airborne particles that can cause health problems.
ASHRAE Standard 62.1 specifies minimum ventilation rates and other measures intended to provide indoor air quality that is acceptable to human occupants and that minimizes adverse health effects.
The filter requirement on air entering wetted cooling coils has been modified to change the MERV rating from 6 to 8.
Air filters with a MERV of 11 or higher are now required when the building is located in an area where the national standard or guideline for PM2.5 is exceeded.
By reducing the particulates passing through the filter, it reduces the potential for particulate deposition on the coils that could lead to microbial growth or other contamination of the HVAC system.
It also provides for a 20-35 percent increase in capture efficiency for E3 particles – from 35-50 percent under MERV 6, to greater than 70 percent under MERV 8, meaning twice as many E3 particles are captured before they can become deposited and support microbial growth.
The new requirement for MERV 11 filters in areas exceeding PM2.5 guidelines is also important because MERV 11 filters are able to filter more than 65 percent of E2 particles, which makes a big difference in protecting the health of building occupants.
Martin says that it is crucial to pay attention to the energy implications of switching to a higher MERV filter, noting that energy consumption will depend on what type of filter people select.


Although government support of renewables in India remains strong, the country faces "a myriad of challenges," which will likely result in India falling short of its own renewable energy targets by 2022, energy consultancy Wood Mackenzie said on Monday.
India has set targets to have 175 GW renewable capacity installed by 2022, 100 GW of which is solar and 75 GW of which is wind.
However, even if costs were to drop significantly, Wood Mackenzie expects that only 76 percent of the 175-GW target will be achieved by 2022, "and this would still be a noteworthy achievement," the consultancy said.
The myriad of challenges includes recently cancelled auctions, which could undermine investor confidence, Wood Mackenzie's solar analyst Rishab Shrestha said.
"Various duties on equipment and the associated uncertainty has led to a short-term uptick in solar prices. This leads to knock-on effect on already cash-strapped state distribution companies who are showing an unwillingness to greenlight high priced solar projects," Shrestha said, but noted there was continued government support and flexibility in responding to industry hurdles.
"As a result, renewable prices continue to remain competitive," WoodMac's Shrestha added.
India's wind and solar capacity has nearly doubled since 2014 to 61 GW in 2018, mostly due to significant cost declines in the auctions, according to Wood Mackenzie.
In solar alone, India was the world's second-biggest solar market in the first half of 2018, outstripping the U.S. and second only behind China in solar capacity additions, research by Mercom India showed earlier this month.
Capital costs are further seen down over the next five years, by 23 percent for wind and by 31 percent for solar, according to WoodMac, which expects non-hydro renewables to account for 13 percent of India's power generation mix by 2023, double the share of today.
By 2040, India is projected to boost its renewable capacity sevenfold to 384 GW, driven by offshore wind, hybrid projects, floating solar, and distributed solar.
"The 384 GW of non-hydro renewables will ultimately contribute 20% of generation share by 2040," WoodMac's Shrestha said.


text:
Das Damendoppel der Australian Open 2001 war ein Tenniswettbewerb in Melbourne.

Titelverteidigerinnen waren Lisa Raymond und Rennae Stubbs. Das Finale bestritten Serena Williams und Venus Williams gegen Lindsay Davenport und Corina Morariu, das die Williams in drei Sätzen gewannen.

Setzliste

Hauptrunde

Viertelfinale, Halbfinale, Finale

Obere Hälfte

Obere Hälfte 1

Obere Hälfte 2

Obere Hälfte 3

Obere Hälfte 4

Untere Hälfte

Untere Hälfte 1

Untere Hälfte 2

Untere Hälfte 3

Untere Hälfte 4

Weblinks

Damendoppel
2001


We were lost and in need of a Savior, we were rescued from ourselves and the devil, we followed the devil blindly and now that, Eph 1:18 "EYES OF OUR UNDERSTANDING IS ENLIGHTENED," now that our hearts are hearts of meat and not stone, now that we are aware of Gods presence and continual blessings, we have decided to give our lives to Him. We have decided to live for Christ, sharing the Truth, "Jesus," with everyone we know.
Are we making a pest of ourselves? Yes, the Bible says that we are to go into the Highways and Hedges and COMPEL you to come," that means take lordship over you, drag you, kicking and screaming all the way.
My life changed in 1978 and I was caught up in a vision after a traumatic experience at Church, I saw the Lord with His hands stretched over the Church, He told me that that little Church would remain until He returns, but that He would replace the Pastor in two weeks, and that is exactly what happened, the Pastor was fired and thus the ministry began.
I began attempting to preach in a Baptist Church, you know how well that was received. I was made to feel like a vessel of dishonor, because of my former lifestyle, but God gave me clarity in not many years later. I began speaking a matter and it would be so, and I have continue to hold fast from that day to this one, telling everyone that will listen that Jesus is Lord. Baptized in 1957 born again in 1978 and in two weeks after my second conversion I saw Jesus, told my godmother and she laughed, but in two weeks the Pastor was fired, and as Jesus said the work/church planted on the corner remains to this day that 40 years ago, that church remains.
My second Face to Face encounter was while I was on retreat; I fell into a vision and saw myself as a YELLOW bird. I was a song bird, "and I sang in 7 languages at the time," in the vision my leg was broken and I was chained to a Hugh tree, I know now was the tree of Life, Christ Himself. And as I agreed to forgive my molester, I was healed. God's hand released the chain and I was told that He was sending me out of Tucson to travel as a nomadic prophet.
I moved to Oregon from Hawaii, no its not a shock, I have seen God do a great and mighty work, one that has changed many lives, it has a strong work, a mighty move, and continues to be so. We have a heart for the people, why, because we needed guidance and direction as younger women and did not receive it. And now its our turn to get it right, Therefore, we are directing men and women to God, to a hope and a future, helping them to remove all obsession, fleshy behaviors and replacing groping in the dark with walking in the light.
Our Mission is saving lives, baptizing you, teaching you, offering you healing, deliverance, offering you your future that has been sitting and waiting for you to come and receive your inheritance. Rom. 8:30 Says that God has planned your life, but you must come to the light, out of the darkness, and give the devil a letter of divorce in order to receive your inheritance. What inheritance, Read the Word. He/God gave you everything, yet, we have nothing. He placed you over the earth as its Husbandmen, caretaker. Come, let us help you find your true calling, your true vision and move forward in the earth.30 Moreover whom he did predestinate, them he also called: and whom he called, them he also justified: and whom he justified, them he also glorified.


One of our most recent projects is the transcription of 44 receipts written and signed by William Blake. They present a few new problems, such as how to transcribe the markings between numbers — their version of a decimal point, which looks a lot like two commas. Another unique aspect is the stamp, which appears on 19 of the receipts. Initially there was uncertainty over how to classify the stamps, and they were referred to as 'seals' for a few months. However, consulting some reference works on philately told us that the correct term is 'embossed revenue stamp'. These actually have a longer history than postage stamps, as they were used to denote the payment of tax on legal documents such as receipts, and before income tax became standard they were used by governments as a main source of revenue. They can be classed as either 'documentary' or 'proprietary'; the latter describing stamps used for paying tax on goods, which are generally affixed to the item in question, and the former being stamps attached to legal documents. The Blake receipts carry documentary revenue stamps.
Revenue stamps have never been as interesting to collectors as postage stamps, however, and the largest catalogues of stamps, such as the Scott Standard Postage Stamp Catalogue only list a few incidental revenue stamps. This is slowly changing, but the general lack of interest has meant that there is no comprehensive database identifying various kinds of revenue stamps, only a few specialist collections. Moreover, these collections largely focus on the stamps from former British colonies: these revenue stamps are usually very colourful, elaborate and contain specific cultural details relating to the history of the colony. Comparatively, our Blake revenue stamps are all uncoloured, and most feature the same image (a union jack on a shield, under a crown) and the same text ("mon dieu et mon droit"), both quintessential representations of the British monarchy, and consequently rather uninteresting.
With little information available on these stamps, we have 3 main problems: 1) how to read the (often faded and overwritten) stamps without a clear sense of what to expect, 2) how to identify different types of stamps (the meaning of the image/text combinations), and 3) how to represent the complexity of these stamps in in our encoding of the transcription.
two) Without another taxonomy to work off, I've been using a provisional one based on a set number of images and texts which are found in different combinations. The stamps can be categorized most easily by cost, as they clearly represent values from two to eight pence. The image is harder to categorize, as it is made up of a number of elements which are found in different combinations, and which are not always represented in the same way; for example, I am using 'vines' to designate the long, vine-like plants usually depicted at the sides of the image, but these differ in shape, and ideally I would like to find a more accurate description for the different variations. In the absence of any colour, I am also hesitant about describing the commonly-seen image (of a standard cross over an x-shaped cross) as a "union jack", although this seems like a good enough description for now. Other common features are thistles, crowns and belts, but these are easily identified and described (although I still need to do more research on what these symbols mean — I found conflicting meanings for the 'belt' image including "loyalty" and "readiness to serve the public". The text is a little more complicated to categorize, since I can divide it into 4 parts: text denoting motto (which encircles the central image), text denoting cost of stamp (at the base of the stamp), text denoting purpose of stamp (found both at the base of the stamp, under the cost, and encircling the central image, outside the motto) and text on the upper-left hand side, which I don't yet understand.
As this only gives a text transcription, it is not a great model for the majority of stamps, and certainly not for the Blake receipts. This also touches on another problem that users of the site have noted, that it is not clear whether <stamp> is meant to contain a transcription of the text, or a description of the contents. The revenue stamps on the Blake receipts seem to be a unique problem which has no clear solution.
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Unhealthy diets are the leading cause of ill-health worldwide but following a healthy and sustainable diet could avoid roughly 11 million premature deaths per year, says a new report by the EAT-Lancet Commission.
Without such a transition - along with improved food production and less food waste - feeding a growing population of 10 billion people by 2050 will be impossible, adds the report.
The findings are from the EAT-Lancet Commission, Food in the Anthropocene: the EAT–Lancet Commission on healthy diets from sustainable food systems, which provides the first scientific targets for a healthy diet from a sustainable food production system that operates within planetary boundaries for food. The report promotes diets consisting of a variety of plant-based foods, with low amounts of animal-based foods, refined grains, highly processed foods and added sugars, and with unsaturated rather than saturated fats.
"The transformation that this Commission calls for is not superficial or simple, and requires a focus on complex systems, incentives, and regulations, with communities and governments at multiple levels having a part to play in redefining how we eat," says Dr. Richard Horton, Editor-in-Chief of The Lancet.
"Our connection with nature holds the answer, and if we can eat in a way that works for our planet as well as our bodies, the natural balance of the planet's resources will be restored. The very nature that is disappearing holds the key to human and planetary survival," Horton adds.
Transformation of the global food system is urgently needed as more than 3 billion people are malnourished (including people who are undernourished and overnourished). Food production is exceeding planetary boundaries – driving climate change, biodiversity loss and pollution due to over-application of nitrogen and phosphorus fertilizers, and unsustainable changes in water and land use.
The NCD Alliance and World Cancer Research Fund International successfully advocated for NCDs to be included on the agenda and outcomes of the Second International Conference on Nutrition (Rome, November 2014). Download our updated joint policy brief.
Hosted by LINKS, the NCD Alliance presented a webinar on 21 March to discuss the role of civil society organisations in the elimination of industrially produced trans fatty acids, with a focus on Mexico and Argentina.
The 2017 Global Nutrition Report finds "significant burdens" of three forms of malnutrition in 140 countries.
Nutrition can be a driver of change or a barrier to progress, and, according to the Global Nutrition Report being released on September 15 in London, there are actions leaders of every country should be taking to end malnutrition in all its forms.
Unicef has urged Latin American countries, civil society and private sector to work together in order to limit advertising and marketing of unhealthy food and beverages to children, since they encourage a pattern of consumption that can cause obesity and lead to non-communicable diseases in adulthood.


The Global Forum on Steel Excess Capacity Ministerial Meeting held in Paris today within the G20 framework concluded with a consensus report agreed by 33 member countries that includes initial conclusions on the revision process that will allow for the identification and removal of subsidies and support mechanisms that contribute to excess capacity.
"It is very important that we arrived at a consensus," said Miguel Braun, Argentine Secretary of Trade and the meeting's chair, at a press conference afterwards. "This is a forum that makes decisions by consensus and taking into account the opinion of all the members; in the current global context, I believe it is a very positive signal regarding the possibility of working together to solve the challenges the global community faces," he added.
Taking place at the headquarters of the Organization for Economic Cooperation and Development (OECD), the ministerial meeting consolidated the progress made at the working group meetings in March and June, with a view to gradually removing subsidies and other forms of government support that distort the market.
"There is growth in the demand, but the level of growth is relatively modest. This means that there has to be a focus on reducing capacity, not just waiting for the demand to catch up with the capacity," said José Ángel Gurría, Secretary-General of the OECD. "The numbers are telling us that we have to look at the question of capacity very seriously. This is perhaps the most important reason why the political leaders of the G20 decided to have the forum," he added.
The Global Forum on Steel Excess Capacity was created after recommendations at the 2016 G20 Leaders' Summit in Hangzhou, China, and was formally established in Berlin in December 2016. The forum has met twice this year, in Paris on 7 and 8 March, and in Buenos Aires on 4 and 5 June.