text:
LEWIS, JAREDDAVID thru LEWIS, JARVISG
LEWIS, JARED DAVID was born 20 June 1985 to TAMMEY S. LEWIS (possibly her maiden name) in Boyd County, Kentucky, U.S.A.
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LEWIS, JARED E who was 22, (born 1986 or 1987) married 17 April 2009 in HARRIS COUNTY, TEXAS, U.S.A. a bride named DANNETTE L OBRYANT who was 34 (born 1974 or 1975).
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LEWIS, JARED I. was born 6 February 1972, received Social Security number 170-52-6759 (indicating Pennsylvania) and, Death Master File says, died 2 April 1999
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LEWIS, JARED JACOB was born 10 December 1973 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARED JAMES was born 18 September 1989 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARED L who was 26 (born about 1985) married 2 July 2011 in RUSK COUNTY, TEXAS, U.S.A., a bride named CRYSTAL D ROBINSON who was 31 (born about 1980).
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LEWIS, JARED M married a bride named YVONNE ANA RIVERA on 17 September 2010 on a license issued in Manhattan, New York City, New York, U.S.A.
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LEWIS, JARED M who was 25 (born about 1986) married 3 December 2011 in NEWTON COUNTY, TEXAS, U.S.A., a bride named BRITTANY D ADAMS who was 26 (born about 1985).
LEWIS, JARED M. died 2 December 1984 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
LEWIS, JARED MATTHEW and ALEX MARIE MILLER obtained marriage license number 2003661 from the Franklin County Probate Court in Ohio, U.S.A. on 4 August 2020 and had their wedding ceremony on 8 August 2020.
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LEWIS, JARED MICHAEL married somebody named ANI VAN DYKE MASON on 14 September 2013 on a license issued in Manhattan, New York City, New York, U.S.A.
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LEWIS, JARED MICHAEL was born 1 March 1980 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
LEWIS, JARED MICHAEL was born 12 January 1974 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
LEWIS, JARED MICHAEL was born 23 May 1984 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
LEWIS, JARED MICHAEL was born 31 July 2000 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
LEWIS, JARED PATRICK was born 2 June 1988 to ELIZABETH J. COOPER (possibly her maiden name) in Kentucky, U.S.A.
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LEWIS, JARED RAY was born 10 June 1981 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARED ROBEERT married JESSICA LEIGH GUNNELL 4 August 2012 in Toms River Township, Ocean County, New Jersey, U.S.A. Special thanks to Reclaim The Records. Please consider donating to them.
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LEWIS, JARED TIMOTHY WALK was born 3 July 1998 to KRISTY L. BENTLEY (possibly her maiden name) in Clark County, Kentucky, U.S.A.
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LEWIS, JARED TODD IRVIN was born 1 August 1996 to MARY A. BENTLEY (possibly her maiden name) in Floyd County, Kentucky, U.S.A.
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Lewis, Jared Tracy married Adrian Marie Nethercott in in Pierce County, Washington, U.S.A. Click the link to go to the entry on the Washington State Archives website.
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Lewis, Jared Tracy married Adrian Marie Nethercott in 2003 in Pierce County, Washington, U.S.A. Click the link to go to the entry on the Washington State Archives website.
Lewis, Jared Traly married Christina Marie Olsen in in Pierce County, Washington, U.S.A. Click the link to go to the entry on the Washington State Archives website.
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Lewis, Jared Traly married Christina Marie Olsen in 1999 in Pierce County, Washington, U.S.A. Click the link to go to the entry on the Washington State Archives website.
LEWIS, JARED W who was 23 (born ABT 1984) married 19 DEC 2007 in TRAVIS COUNTY, TEXAS, U.S.A. a bride named AUTUMN B MUIRHEAD who was 21 (born ABT 1986).
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LEWIS, JARED W. died 10 March 1984 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
LEWIS, JARED WAYNE was born 16 March 1993 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARED WILLIAM was born 11 July 1992 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARED WILLIAM was born 18 March 1970 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
LEWIS, JARELD L who was 20 (born ABT 1961) married 2 NOV 1981 in SAN JACINTO COUNTY, TEXAS, U.S.A. a bride named JOYCE D HARRISON who was 18 (born ABT 1963).
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LEWIS, JARELD L who was 21 (born ABT 1962) married 13 AUG 1983 in WALKER COUNTY, TEXAS, U.S.A. a bride named BRADLEN S SHORTS who was 20 (born ABT 1963).
LEWIS, JARELD L who was 39 (born ABT 1961) married 25 OCT 2000 in SAN JACINTO COUNTY, TEXAS, U.S.A. a bride named LORRAINE C WILLIAMS who was 29 (born ABT 1971).
LEWIS, JARELD L, born ABT 1962, and his bride DEBRA E, born ABT 1963, married 2 NOV 1981, and they had no children under 18 when they got divorced in SAN JACINTO COUNTY, TEXAS, U.S.A. on 21 SEP 1982.
LEWIS, JARELD L, born ABT 1964, and his bride BRADLEN S, born ABT 1965, married 13 AUG 1983, and they had three children under 18 when they got divorced in SAN JACINTO COUNTY, TEXAS, U.S.A. on 5 JAN 1994.
LEWIS, JARELL AARON was born 19 May 1979 to BRENDA L. LEWIS (possibly her maiden name) in Warren County, Kentucky, U.S.A.
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LEWIS, JAREN ANDRE was born 30 July 2000 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JAREN M. was born 11 September 1986, received Social Security number 427-55-4662 (indicating Mississippi) and, Death Master File says, died 15 July 2007
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LEWIS, JAREN MICHAEL was born 30 September 1991 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARET R who was 28, (born 1980 or 1981) married 21 June 2009 in COLLIN COUNTY, TEXAS, U.S.A. a bride named REBECCA S POLLEY who was 25 (born 1983 or 1984).
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LEWIS, JARFET was born 7 June 1919, received Social Security number 230-20-1449 (indicating Virginia) and, Death Master File says, died 30 September 1999
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LEWIS, JARIEL ASHER LEVI who was 28 in 2011 (born about 1983) married 23 December 2006 a bride named SAMANTHA DENISE who was 30 in 2011 (born about 1981) on 23 December 2006 and they had two children under 18 when they got a divorce 1 November 2011 in DENTON COUNTY, TEXAS, U.S.A.
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LEWIS, JARION S. was born 8 January 1994, received Social Security number 423-41-1135 (indicating Alabama) and, Death Master File says, died 28 January 2003
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LEWIS, JARLIN K who was 23 (born ABT 1964) married 3 OCT 1987 in HARRIS COUNTY, TEXAS, U.S.A. a bride named KIMBERLY M TAYLOR who was 21 (born ABT 1966).
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LEWIS, JARMEL Q who was 30 (born ABT 1974) married 8 JUN 2004 in TARRANT COUNTY, TEXAS, U.S.A. a bride named LAQUESIA D LANE who was 26 (born ABT 1978).
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LEWIS, JAROD FIELDING was born 8 March 1990 to JULIE R. JACOBSON (possibly her maiden name) in Rowan County, Kentucky, U.S.A.
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LEWIS, JAROD R. died 17 June 1985 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JAROD ROSS was born 17 June 1985 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JAROD STANLEY was born 27 May 1993 to RHONDA P. WRIKER (possibly her maiden name) in Rowan County, Kentucky, U.S.A.
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LEWIS, JAROLD was born 000, received Social Security number 549-07-5739 (indicating California) and, Death Master File says, died October 1964
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LEWIS, Jarold E. Sr. was born 4 Jun 1944; was buried in Sedgwick County, Kansas.
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LEWIS, JARONIA was born 26 August 1908, received Social Security number 122-20-7055 (indicating New York) and, Death Master File says, died February 1977
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Lewis, Jaronia M., wife of Delmar Lewis, was born 26 August 1910, died 17 February 1977, and was buried in Section 2K, Site 1034 in Long Island National Cemetery in Farmingdale, New York, U.S.A.
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LEWIS, JARON TERRANCE was born 15 October 2004 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARRED was born 11 January 1990, received Social Security number 587-67-9973 (indicating Mississippi) and, Death Master File says, died 19 September 2011
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LEWIS, JARRED ALAN was born 8 February 1985 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARRED C who was 26 (born ABT 1969) married 19 DEC 1995 in DALLAS COUNTY, TEXAS, U.S.A. a bride named CATINA D FERAINE who was 27 (born ABT 1968).
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LEWIS, JARRED CONRAD was born 25 January 1969 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARRED J who was 24 (born ABT 1973) married 24 JUN 1997 in WILLIAMSON COUNTY, TEXAS, U.S.A. a bride named SONJA K DRY who was 25 (born ABT 1972).
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LEWIS, JARREL was born 5 December 1926, received Social Security number 526-32-3611 (indicating Arizona) and, Death Master File says, died May 1974
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LEWIS, JARREL DON (child of MAE ZUNDEL (mother) and JOHN D. LEWIS) was born 5 Dec 1926 in MARICOPA COUNTY, ARIZONA, U.S.A..
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LEWIS, Jarret (child of Edak Britton (mother) and John F. Lewis) ; died 26 May 1945 in Gilmer, West Virginia.
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LEWIS, Jarret was born ABT 1876;; died 26 May 1945 in Tayler Co., West Virginia.
LEWIS, JARRET DANIEL married a bride named URSULA M. NARESKI on 28 July 2007 on a license issued in Manhattan, New York City, New York, U.S.A.
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Lewis, Jarret R married Jennifer M Warren in in Pierce County, Washington, U.S.A. Click the link to go to the entry on the Washington State Archives website, which contains an image of the record. How cool is that? Please bookmark this site before you go. (This entry is similar to the one just before it, but each entry points to a different record on the Washington State Archives, so check each one.)
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Lewis, Jarret R married Jennifer M Warren in in Pierce County, Washington, U.S.A. Click the link to go to the entry on the Washington State Archives website, which contains an image of the record. How cool is that? Please bookmark this site before you go.
Lewis, Jarret Russell married Jennifer Marie Warren in 2002 in Pierce County, Washington, U.S.A. Click the link to go to the entry on the Washington State Archives website. (This entry is similar to the one just before it, but each entry points to a different record on the Washington State Archives, so check each one.)
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Lewis, Jarret Russell married Jennifer Marie Warren in 2002 in Pierce County, Washington, U.S.A. Click the link to go to the entry on the Washington State Archives website.
LEWIS JARRETT A, who was 22 (born about 1990) married 19 May 2012 on a licensed issued in HARRIS COUNTY, TEXAS, U.S.A. a bride named RANDEE R NEALEY who was 21 (born about 1991).
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LEWIS, Jarrett (father), and Dora E. Lewis, had a baby boy, John A. T. LEWIS born 27 Sep 1898 in Tanner, Gilmer County, West Virginia, U.S.A..
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LEWIS, Jarrett married 9 May 1897 in Gilmer Co., West Virginia, U.S.A. a bride named Dora E Reed.
LEWIS, JARRETT J. of Letcher County, Kentucky died 1 June 1964 at age 82 in Letcher County, Kentucky, U.S.A.
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LEWIS, JARRETT WADE was born 16 September 2004 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARROD A who was 20, (born 1989 or 1990) married 03 August 2010 in GREGG COUNTY, TEXAS, U.S.A. a bride named MARY K CLAXTON who was 20 (born 1989 or 1990).
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LEWIS, JARROD BLAKE and NICOLE RENEE ZUBOVICH applied for a marriage license in Franklin County, Ohio, U.S.A. 11 August 2003, which license was issued 11 August 2003, which was valid until 10 October 2003, and which was returned 11 September 2003, indicating that a marriage happened 6 September 2003.
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LEWIS, JARROD BLAKE and NICOLE RENEE ZUBOVICH obtained marriage license number 0305640 from the Franklin County Probate Court in Ohio, U.S.A. on 11 August 2003 and had their wedding ceremony on 6 September 2003.
LEWIS, JARROD L who was 27 (born ABT 1979) married 28 DEC 2006 in BEXAR COUNTY, TEXAS, U.S.A. a bride named ANTOINETTE T CARTER who was 30 (born ABT 1976).
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LEWIS, JARROD LEE was born 27 February 1966 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARROD SCOTT was born 23 January 1991 to ANGELA M. LUTES (possibly her maiden name) in Jefferson County, Kentucky, U.S.A.
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LEWIS, JARROD SHANE was born 12 October 1996 to ANGIE K. HARRIS (possibly her maiden name) in Whitley County, Kentucky, U.S.A.
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LEWIS, JARROD W. married SHAKOLE D. PARKER on 24 September 2016 using a marriage license issued in Greene County, Indiana, U.S.A.
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LEWIS, JARROLD C who was 23 (born ABT 1969) married 26 DEC 1992 in HARRIS COUNTY, TEXAS, U.S.A. a bride named TAMARA L CRYAR who was 21 (born ABT 1971).
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LEWIS, JARROLD C, born ABT 1969, and his bride TAMARA C, born ABT 1972, married 26 DEC 1992, and they had no children under 18 when they got divorced in TRAVIS COUNTY, TEXAS, U.S.A. on 10 SEP 1997.
LEWIS, JARROLD N. was born 29 August 1928, received Social Security number 461-34-9830 (indicating Texas) and, Death Master File says, died 27 March 1996
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LEWIS, JARROTT A. was born 29 May 1926, received Social Security number 110-18-3459 (indicating New York) and, Death Master File says, died 22 March 2010
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Lewis, Jarrott August, Rank: ETM2, Branch: US NAVY, War: WORLD WAR II, was born 29 May 1926, died 22 March 2010, and was buried in Section 21, Site 331 in Gerald B.H. Solomon Saratoga National Cemetery in Schuylerville, New York, U.S.A.
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LEWIS JARTIESH M, who was 27 (born about 1985) married 25 February 2012 on a license issued in HARRIS COUNTY, TEXAS, U.S.A. a groom named JEREMY L ROBERSON who was 28 (born about 1984).
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LEWIS, Jarusha married 12 Aug 1876 in Harrison, West Virginia, U.S.A. a groom named John G. Lewis.
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LEWIS, Jarusha married 3 Oct 1878 in Harrison, West Virginia, U.S.A. a groom named John G. Lewis.
LEWIS, JARVIS married a bride named LAV VERNE FUSSELL in the year 1966 on license number 9931 issued in Brooklyn, New York City, New York, U.S.A.
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LEWIS, JARVIS was born 5 August 1917, received Social Security number 246-14-7865 (indicating North Carolina) and, Death Master File says, died February 1963
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LEWIS, JARVIS was born 16 September 1983, received Social Security number 587-47-9455 (indicating Mississippi) and, Death Master File says, died 14 October 2012
LEWIS, JARVIS was born 18 January 1910, received Social Security number 054-10-6096 (indicating New York) and, Death Master File says, died June 1984
LEWIS, Jarvis (father), and Lucy B. [no surname shown], had a baby girl, Helen LEWIS born 9 Sep 1845 in Waltham, Massachusetts, U.S.A..
Lewis, Jarvis died in 1881 according to a Massachusetts vital record for Waltham, Volume 329, Page 209.
Lewis, Jarvis married in 1844-45 according to a Massachusetts vital record for Waltham, Volume 13, Page 65.
LEWIS, JARVIS B. was born 5 October 1980, received Social Security number 258-57-7573 (indicating Georgia) and, Death Master File says, died 13 August 2011
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LEWIS, JARVIS C. was born 2 November 1948, received Social Security number 052-42-6252 (indicating New York) and, Death Master File says, died 10 July 2006
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LEWIS, JARVIS D. was born 20 July 1923, received Social Security number 042-26-8073 (indicating Connecticut) and, Death Master File says, died 25 September 1994
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LEWIS, JARVIS DARNAYLE was born 3 December 2007 in Missouri, U.S.A. Special thanks to Reclaim the Records. Please consider donating to them.
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LEWIS, JARVIS G. married a bride named EVELYN A. JUAREZ on 15 August 2004 on a license issued in Queens, New York City, New York, U.S.A.
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The Rockies signed Chris Volstad yesterday, but that's not stopping them from going after more veteran pitching. The club is "aggressively pursuing" free agent right-handers Carl Pavano and Derek Lowe, Troy Renck of the Denver Post reports. The Rockies would like to complete another deal this week.
Lowe, a 39-year-old client of the Boras Corporation, posted a 5.11 ERA with 3.5 K/9 and 3.2 BB/9 in 142 2/3 innings for the Indians and Yankees this past season. He has drawn interest from multiple teams as a free agent. Pavano, 37, has drawn interest from the Mets, Twins and Marlins this winter. The Dave Pepe client posted a 6.00 ERA in 63 innings for the Twins in 2012, spending considerable time on the disabled list with a shoulder strain.
The Rockies allowed more runs than any team in baseball this past season (890). They have since re-signed Jeff Francis, added Volstad and seen Jorge de la Rosa exercise his option for 2013.


Vinyl and wood laminate floors are great for those of us who crave convenience, but not everyone is satisfied with a mainstream look. If you're the person in your group of friends who opts for the most daring fashion choices and picked the cool, quirky cottage for your abode, then you need a new floor in your home that complements your edgy, risk-taking style. These ideas range from noveau twists on more conventional materials to completely out-there surfaces that will definitely turn some heads, and give you a chance to express your unique taste throughout every inch on your home.
Portlandia was right: the dream of the 1890s is alive and well—in Portland, Brooklyn, Austin, and all over the country, really. That's bringing a rustic vibe back into vogue, and it's been making its way into homes in the form of highly textured wood flooring. Pine plank floors and utility, tavern or cabin grade pieces have natural defects which add a subtle patterned effect to rooms, and keep otherwise unusable materials out of landfills, making it a more sustainable alternative to higher grade hardwoods. It's also super cheap—this is the stuff lumber mills are trying to get rid of. Careful when you install, however—you'll need to purchase extra wood for the project because you'll likely have to pitch some pieces that are too short or split to be workable.
Some of us prefer a look that's more of this century, however. Industrial surfaces are super trendy and edgy, especially when customized in hip, unique ways—and in the world of flooring, perhaps no material is as diverse as concrete. It can be stamped to mimic tile or stone, or stained in luminous, iridescent colors—you can even paint it, stenciling on elaborate mandalas or floral-inspired patterns in almost any design imaginable. Concrete's also durable and VOC-free, and it stays cool in the summertime, so it will help help your home be more energy-efficient, too!
Is this Pinterest or real life? The DIY-obsessed have been taking floors to new heights, and that means tiling floors in materials from your wildest dreams. Got a lot of used bottle caps? A ton of wine corks? A bunch of leather belts? What have you been saving them for if not to use them to create a one-of-a-kind surface you can bet will stand out. I particularly love one idea I've seen popping up lately—floors tiled with copper pennies. There's something about their bright, multicolored surfaces that virtually sings with joy, and they're actually pretty easy to install, too. You can attach the pennies yourself by placing them on self-adhering fiberglass, and then grouting and sealing as usual.
Ever wished that you could take the sanctuary of the spa and bring it right to your home? While I can't promise you'll get any messages out of the deal, you can at least capture some of the clean, natural look of the resort by integrating riverstone into your flooring. This idea works really well as a transitional look. Homeowners have successfully adopted it around bathtubs and behind fireplaces as a companion to the main tile or wood flooring in the room. Some even take the aesthetic one step further and scrap the moulding at the border between the two floors, opting instead for a cut line in an organic shape. That makes it appear as though the piece hovers just on the margin between our organized, manmade forms and the gentle chaos of nature. Are you inspired yet? I am!


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Best of San Francisco Bars & Clubs
You can enter many an "Irish pub" in San Francisco with an ample Guinness flow and trad music on the PA that is about as Irish as a bowl of Lucky Charms floating in green beer.
Best New Reason Not to Lose Hope for Valencia
Brasserie Saint James
Valencia Street between Duboce and 25th streets, once home to the buzziest restaurants in San Francisco, has cooled noticeably in the last year.
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December 05, 2007 News » Feature
My Tunes: Orlando Cepeda
Musical Hall of Famer
By Joe Eskenazi @EskSF Wednesday, Dec 5 2007
Orlando Cepeda is at bat with the bases jammed/Orlando Cepeda with a wham! bam!/He hit a grand slam/In the very first inning/But it's only the beginning. — Danny Kaye, "The D-O-D-G-E-R-S Song"
While it won't get him onto a postage stamp, Orlando Cepeda was a baseball pioneer. "I was the first player who brought music to the clubhouse, in all of baseball," he recalls. "They didn't allow music, and I was the first one; I carried in my record player." He was also possibly the first player to have his own theme music blare around the ballpark when he stepped into the batter's box: "Well, they used to call me 'Cha-Cha,' because of the way I liked the music, so they used to play cha-cha for me."
Cepeda, the San Francisco Giants' Rookie of the Year in 1958, the National League Most Valuable Player in 1967, and a Hall of Famer, is the son of Puerto Rican diamond legend Pedro "The Bull" Cepeda (which is why, even at age 70, Orlando is still referred to as "The Baby Bull"). Yet Pedro's brother, Rafael, may have been the most famous Cepeda on the island — he was Puerto Rico's No. 1 trumpet player. "I have to say music is in my genes," Orlando says.
The musicians he's listening to now are often the same ones he was broadcasting to the Giants' clubhouse during their 1962 pennant-winning season, but many of the tunes are brand-new. Cepeda has stayed up-to-date, enjoying the 2007 releases of Latin legends like bandleader Eddie Palmieri, Cuban piano giants Chucho Valdés and Gonzalo Rubalcaba, and top Puerto Rican group Sonora Ponceña. "Puerto Rico has the best salsa," he says. "When I want to listen to some Puerto Rican salsa, I play Sonora Ponceña. They've been together 40 years and they're the best." Tito Puente, meanwhile, has gone to the recording studio in the sky, but Cepeda claims to have listened to every one of Puente's 140-odd albums.
Cepeda isn't afraid to listen to musicians young enough to be his children or grandchildren. He's a huge fan of Latin-fusion jazz saxophonist David Sanchez: "He's a great sax player, and I just love him too. Every time he comes here, I check him out." Cha-Cha, incidentally, is far from an unsung hero. Bay Area-raised jazz legend Cal Tjader penned "Viva Cepeda" in the player's rookie season nearly 50 years ago, and the tune has been covered by several other jazz bands. San Francisco pianist Rebeca Mauleón is also a huge fan, and recently recorded a song titled "Cepeda Forever."
Cepeda far prefers Tjader and Mauleón's work to the Danny Kaye novelty number at the top of this article, by the way. Yes, he (wham! bam!) hit a grand slam in that tune — but the Dodgers won the ballgame.
For more top tens from Margaret Cho, Vanilla Ice, Scarface, and some other random B-listers go to All Shook Down
Tags: Feature, Featured Stories, Orlando Cepeda, Puerto Rico, Major League Baseball, National League (Baseball)
Joe Eskenazi
@EskSF
Joe Eskenazi was born in San Francisco, raised in the Bay Area, and attended U.C. Berkeley. He never left. "Your humble narrator" was a staff writer and columnist for SF Weekly from 2007 to 2015. He resides in the Excelsior with his wife, 4.3 miles from his birthplace and 5,474 from hers.
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Home ♦ Featured ♦ Véronic DiCaire: Catch her in Vegas before she goes on tour
Véronic DiCaire: Catch her in Vegas before she goes on tour
Friday, June 12, 2015	♦
Haley Caldwell	♦
Featured, Shows	♦
With chameleon-like vocals and the ability to bring the likes of more than 50 pop icons to life, celebrity impressionist Véronic DiCaire is a powerhouse vocalist that knows a thing or two about putting on a damn good Vegas show.
In her headlining Bally's show, "Véronic Voices" co-produced by Celine Dion, this singer, comedian and tribute artist pays homage to some of the most famous pop icons of our time.
As she prepares to jet out of town on tour on June 16, DiCaire sat down with us to chat about her show, her life as a performer and the skills required to master the art of impersonation.
Read on to learn more about this bubbly blonde and don't miss your chance to catch her show before she heads out of Sin City next week.
Q&A with Véronic DiCaire
Q: How and when did you discover your talent as an impersonator?
A: My mom says that when I was young, I used to imitate my teachers or comedians I saw on TV. But before I did impressions as a career, I was a recording artist in Canada. I really only did impressions in front of friends or during sound checks, joking around. Growing up in French Canada, we all dreamed of singing like Celine Dion, so I would do my best to imitate her. When Celine was looking for an opening act for a concert she was doing in Montreal, I submitted a video of myself doing impressions. I ended up needing to fill a 30-minute set for the show in front of 20,000 people and at that point, I was really only doing five or six voices. With my vocal coach, I learned some others and it was Celine's son-in-law, Marc Dupré, also an impersonator in Quebec, who said to me, "You know what? You should do imitations Véronic." And, voilà! The rest is history.
Q: Who is the biggest musical influence in your life and why?
A: That is such a tough question because I have 50 singers I pay homage to in my show. Obviously, Celine Dion was and continues to be a huge inspiration and part of my life, but another one I always say has been a great influence is Karen Carpenter. I grew up listening to her and knew when we created my show that her voice had to be included.
Q: What was the first impersonation you remember performing?
A: Since I was a little girl, I've been singing along to my favorite songs, like most little girls do. But, in terms of actually doing an impression as an adult, I remember driving in my car one day and Sheryl Crow came on the radio and I thought, "I want to sing like her." So, in my show, I do "Everyday is a Winding Road."
Q: What's the hardest voice to perform and why?
A: Believe it or not, Britney Spears was a tough one to master. So many of the singers whose voices I recreate have these big voices that belt out, but for Britney, I had to learn how to keep the voice inside a bit more. Performing Barbra Streisand was tough, too, just because she's had such a long career, deciding which point in it I wanted to recreate was challenging.
Q: What voice have you never been able to pin down?
A: I would have to say Nicki Minaj. I haven't spent enough time on her voice yet to say that I throw in the towel, but I think that it's the combination of her voice and the rhythm that's the challenge. Man, she's fast!
Q: What is the extent of your formal vocal training?
A: I am a recording artist back in Canada and I've always been working with a vocal coach to try and perfect my technique. Learning how to recreate voices really does take a lot of practice so now I can say that all those years of training really pay off. It can take weeks or months of practice before I'm ready to add a new one to my repertoire because I really want the voice to sound the same as what we are hearing on the albums.
Q: What is your-pre show ritual?
A: I like to come in my dressing room a few hours before the show to warm up my voice – I always use the same vocal exercises – and put on my makeup. This helps me calm down and get mentally ready. Also, my lovely dancers, the Voicettes and I, always huddle up before the show and goof off a little bit. We have so much fun together and that's what it's all about when we go on stage!
Q: What do you like to do in Vegas when you're not performing?
A: I love to golf and the courses out here are amazing. I tell my husband that someday, I'd like to design a line of women's golf clothing.
Q: Have you tried to impersonate any male singers?
A: In my opening act for Celine in 2008, I had Mika in my lineup. But my show is really meant to pay homage to female singers…so, now I don't work on male voices. But maybe I could try a young Michael Jackson… or male singers from the '80s and '90s; I think some of those voices are high pitched enough for a woman to reproduce.
Q: During the show, you explain how you create some of your voices in terms of visuals… how does this help you when you're learning a new voice?
A: It doesn't help me has much when I'm learning the voices, it's more helpful when I need to switch between voices. The body has muscle memory and for me putting images on some voices seems to allow my body to get in character. For example, when I was trying to learn Tina Turner's voice, I had to put on my highest heels in order to really get her voice. I think capturing the essence of a singer's sound is about their mannerisms a lot of the time. Thank goodness for YouTube!
Q: Can anybody learn to become an impersonator?
A: I think everyone can impersonate someone! What's the saying? "Imitation is the sincerest form of flattery." Most people, when they are around someone long enough, begin to pick up some of that person's sayings or mannerisms. This probably happens most with our significant others or the ones we love and/or respect the most.
Q: The vocals were just a portion of your impersonations and your body language was another dynamic to making your characters believable. How did you learn how to fully embody not only the voices of different stars, but their physical mannerisms as well?
A: Like I mentioned, thank goodness for YouTube! But, honestly, I think really it's in not being afraid to exaggerate the mannerisms a little bit. When I imitated Celine in front of her for the first time, I think I held back a little bit on the mannerisms. She said to me, "No, Véronic, if you're going to do my mannerisms, you have to take them all the way!" That was the encouragement I needed to really go for them.
Q: How do you decide who you want to impersonate?
A: That's probably the hardest part of putting on my show. There are countless female singers who have made their marks on the history of music and narrowing it down to fit into one show is really difficult. We try to gear it toward the audience. As I mention in my Las Vegas show, when I am in Europe, I don't really do the country singers. We try to give the audience what we think they'll most enjoy and pick the singers and the songs to reach the largest audience possible.
Q: You are in incredible shape, how to you stay so fit?
A: Four nights a week now, since we added Monday shows, the Voicettes and I are up on stage doing 90-minutes of choreography. That's a workout itself, but to do it, I just try to eat right, stay hydrated – especially in the desert – and take care of myself. Recently I've discovered things like Barre3 and Pilates on Reformer… it really helps me stay in shape.
Q: If you could just sing one song for the rest of your life, what song would you sing and why?
A: That's a tough question, because now it's not only picking a singer, but also a song! I close the show with "I Will Always Love You" in Whitney Houston's voice. I think that's a song, and a voice, that will live on forever and that's why I think we use it to close out the show. But I also love to sing in Karen Carpenter's voice… and her song "Close to You" moves me so much. You see, I can't pick only one!
Q: Is there anything else you'd like to add?
A: I'm back on tour later this month in Canada, then in Europe… but I can't wait to return to Las Vegas. It's become my second home and I love it here. Merci! Thank you!
Haley Caldwell
http://www.vegas.com/traveltips/experts/haley-caldwell/
Trading one desert for another, I moved to Las Vegas from Arizona nearly three years ago. It was something about the sparkling lights and the all-encompassing entertainment factor that persuaded me to swap cacti for casinos and dry heat for well…even drier heat. And while I do love a good show, I will always keep true to my country girl ways seeing that I am an absolute sucker for a good country concert and will always indulge the opportunity to go out country dancing! But in a city that undoubtedly has some of the world's best cuisine, a wild assortment of endless experiences, and of course phenomenal shows, Vegas certainly has that unparalleled good time vibe that can make a city slicker out of just about anyone… including myself!
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Many companies are obligated – or want – to involve investors in corporate decision-making, from re-electing board members to approving acquisitions. After all, investors are the real owners of the company.
In a recent blog post, we looked at why companies need to update their voting process in order to engage investors. Here, we will look at how our new blockchain voting functionality is enabling enterprises to achieve this – and the positive impact it is having on shareholder relationships.
A much simpler way to achieve accurate, representative voting results than AGMs and paper-based voting is via the blockchain. Own's unique blockchain solution is all about asset management and enabling the business to communicate with their investors in a safe, transparent and efficient way.
Cryptography and state machine replication enable a decentralized, blockchain based voting system. This ensures that voting resolutions and available voting options for every resolution cannot be altered during or after the voting event. Similarly, every vote cast by an investor can only be modified by the investor himself or by investor's asset account custodian while the voting event is still in progress. Votes 'out of thin air' or duplicated votes are ruled out by a validation process.
Our FAST Platform enables the companies to set up a voting event dynamically, and digitally invite investors to cast their opinion. In order to enable transparency and reduce dependency on intermediaries, we have created an infrastructure around voting through the blockchain – the technical implementation of which we will now explain.
Action – an atomic operation on our blockchain that can be as simple as transfer CHX or transfer asset.
Transaction – a collection of different actions submitted to the blockchain and executed in a particular order. This structure enables us to submit complex processes as a transaction and have atomicity and consistency in the execution.
This atomic processing and transaction ordering helps when a business needs to process complex corporate actions like dividend payments or voting.
In order to enable voting on our blockchain, we have introduced two unique action types: SubmitVote and SubmitVoteWeight. The beauty of this approach is that the process stays very powerful and very simple to use.
In the normal case scenario, VoteHash represents a hash value of voting options like Yes, No, Abstain. However, our solution is flexible and it supports other customizable voting options.
SubmitVoteWeight is the second voting action type which gets submitted by the asset controller at the end of the voting event. At the end of the voting event, the asset controller runs the process to calculate vote weight where the investor's current holding is multiplied with the asset vote weight and the result is submitted to the blockchain. The submission is packed in one single transaction with multiple actions, where the vote weight is submitted for all investors that have voted until that point.
You can find out more about the benefits of our infrastructure by reading our blog post on five reasons we built our own blockchain, or by visiting the technology section of our website.


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tech tales
On the Road with Clapton
Lee Dickson
Eric Clapton's former guitar tech recounts four intimate highlights of his 30-year career with Slowhand.
After a long and amazing career as Eric Clapton's guitar tech, which sadly ended in 2009, I'm often asked about my favorite moments, shows, events, etc. There are so many great memories to recount—each is amazing in its own way, someday I will write a book! Until then, here are some things that I have not revisited for a long time. Feel free to add requests in the comments section for things you'd like to hear about from a behind-the-scenes perspective.
Bob Dylan's 30th Anniversary Bash at Madison Square Garden, 1993
Dylan, George Harrison, Roger McGuinn, Tom Petty, Neil Young—so many of my heroes in one room. It was so surreal just being at rehearsals for this show. Everyone who came through the room was awesome in their own way, you couldn't move without running into a legend: Chrissie Hynde, John Mellencamp, Stevie Wonder, Johnny Cash, Johnny Winter, Willie Nelson, Eddie Vedder, Ron Wood, Lou Reed, Booker T., Steve Cropper, Duck Dunn, G.E. Smith, Jim Keltner, and of course that chap Clapton, too.
It was a fascinating experience just being in the same room as that lot, and listening to rehearsals was quite a trip. But when we moved it over to MSG and set it all up, even though I knew what was coming next come show time, it still blew me away. One of the best concerts I've ever had the pleasure of working on. I remember getting Eric picks made that said, "Bob's Bash @ MSG" and some special picks for Bob that said, "It Ain't Me Babe" on one side and "It Is Babe Isn't It?" on the other. I've watched some of it on YouTube recently to refresh my memory, and as Neil Young called it, it was a "Bobfest" to be sure.
24 Nights at the Royal Albert Hall, London, 1991
At the time of writing this, I have done over 120 shows at that hallowed venue! But people often ask me about this amazing set of shows. It was 24 nights: six small band, six "big" band, six blues, and six orchestra. For this amazing run, Eric and his then manager, Roger Forrester, had come up with a structure where as the first six shows were being played, we'd be rehearsing the next segment during the day. So as he performed with the four-piece band, we'd rehearse with the full band during the day. When the full band took over at night, we'd rehearse the blues stuff during the day with a different band and all the special guests.
The final set was with the orchestra, which rehearsed in the Royal College of Music, conveniently situated behind the Royal Albert Hall. This was a standout for me. My dear pal, sadly no longer with us, Michael Kamen, was at the helm of the National Philharmonic Orchestra—a monster unit in itself—and add in Eric and a few of his bandmates and there was some really magical stuff. It was the most surreal experience to be able to walk around the players and pause and take it in. Standing beside four double bass players as they bow their instruments opens up vibrations you never knew were there. Sitting beside the various cellos and violin sections was so emotional; it touched my heart and gave me a greater respect for the unamplified world.
Watch Clapton play "Edge of Darkness" with the National Philharmonic Orchestra
It was quite frantic for the crew sometimes. Eric's amp had to be completely isolated, and due to the very delicate ears of some of the orchestra members, he had just a monitor wedge that played his guitar back at very low volumes. One of the older violin players said to me, "That thing's too bloody loud for me, mate! Can you shift it?" I said jokingly, "No sir, I can't, because that gentleman on the opposite side of you just gave me $20 to move it to this side!" Unbeknownst to me, the other player was the lead violinist and head of the orchestra, and the man who asked me to move it started going on at him. Of course, the leader was clueless and confused, and I thought it was funny!
For the guitar purists who attended, the blues night was probably the favorite: Eric teamed with Buddy Guy, Robert Cray, Jimmie Vaughan, and Albert Collins. And although we'd done it in 1990 (18 nights), the '91 stuff was even more amazing.
Cream Reunion Rehearsals and Gigs, 2005
We'd heard it talked about for years, and finally it was going to happen: the Cream reunion. The first time I'd ever heard Eric live was when I was but a very young lad and Cream opened for Long John Baldry in Glasgow. Many moons later, my dreams were coming true—Ginger, Jack, and Eric onstage live! They played three songs for the Rock and Roll Hall of Fame induction ceremony in 1993, but here was Cream in full swing, starting at the very place where they'd finally called it a day in '69: the Royal Albert Hall.
We rehearsed way out of London for space, peace, fewer interruptions, and just being able to get more work done. I took a big chance and put up Eric's old Marshall stack the first day—with his '57 Twins lurking close by—thinking he'll love it, or he'll hate it. His comments were something like, "What the heck is all this, then?" To which I replied, "It's a Marshall stack man, thought you might want to try it out … give it a go!?" To which he replied, "Get rid of it and set up my Twin, please!" I dangled his Les Pauls in front of him, too, but Strats and Twins were the weapons of choice for this reunion! We had a special steel-framed shelf made so that we could have a Fender Tweed Twin stack, and he would turn the spare on at the climax of the show for some extra oomph.
Rehearsals were a blast, although one could feel old tensions in the air on occasion, after all, they were 36 years older. There were no perms or hand-painted psychedelic guitars and drums or walls of amps, but they sounded just the same and the playing was fantastic. Hearing Ginger Baker's drumming again was worth the admission alone! I'll always remember when they went into "Sunshine of Your Love." I'd heard a lot of great drummers play it over the years, but in my humble opinion, the only other person I'd ever heard get it right, like the record, was a drum tech called Yardsyboy long ago at rehearsals.
The response from the audience was breathtaking. I remember in London, a bunch of young American guys hooting at me, "Come on dude! Where's the Marshalls and Les Pauls?" and I thought to myself, "They were all born years after the band split!" and it made me laugh. When we went to Madison Square Garden with it, the roar of the crowd was even louder. Cream in New York at the Garden—don't get much better than that! We played two great sets of shows on either side of the Atlantic, then that was it, it appears forever.
In all my time touring and recording, I hardly ever asked for autographs (though sometimes I wish I had!) but I have a framed, limited-edition print of Disraeli Gears signed by Ginger, Jack, and Eric. It was a Creamtastic time in my life!
Curtis Mayfield Memorial, 2000
I got the call from Eric that he was going to play at a church memorial service for the late Curtis Mayfield, which turned out to be a very, very sad but, in its own way, uplifting day.
The legendary Mayfield had passed away after many serious health battles, and there was to be a musical memorial service for him at a church called First AME in L.A. We set up as quietly as possible, and backed the volume off a bit from Eric's stage volume setting on his amp due to the location and occasion. I'd done some odd, one-of-a-kind gigs with my boss over the years, but I never thought I'd be doing a gig in a beautiful church in East L.A. for a man whose music influenced my life in its own way.
It was an emotional day for the Mayfield family and all who attended: The Impressions, Stevie Wonder, Lauryn Hill, Eric, and the choir. Greg Phillinganes and Nathan East, both from Eric's bands, also played that day along with my old pal Jeffrey "Skunk" Baxter and Narada Michael Walden on drums. It was quite a send-off for a true legend and one of the all-time truly great artists.
I had listened to Curtis Mayfield nearly all my life, having been turned on to (and blown away by) The Impressions at a very young age. Many years later, another dream would come true for me when Eric invited them on tour with him, sans Curtis of course. His final masterpiece, New World Order is an awesome record—recorded with great difficulty, I am told—due to his ailing health. '"Here But I'm Gone'' is one of the finest of the many amazing songs he wrote, and one that I personally could listen to over and over—and I often do.
whats-new videos eric-clapton online-only tech-tales artists
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Brad Paisley's Flooded Gear
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15 Rules of Backstage Access
A DIY Tool for Tuning in Loud Environments
Chad Weaver
Stress no more about tuning acoustic guitars in loud venues. You can make this tool with extra parts you have lying around.
So you're trying to tune an acoustic guitar while the band is playing full throttle, huh? The roar of a PA shakes the body of an acoustic to a point where it's really hard to get a true reading on a tuner.
Undersaddle pickups are the most commonly used, including some with microphone blending capabilities. If you are using the blending models, the volume you're trying to achieve determines whether or not you can use the microphone that's attached to the soundboard. The larger the venue, the more you'll dial the microphone to a bare minimum and use a soundhole cover. This will help with tuning in loud rooms, but it can still be tricky.
I can remember some of my earliest gigs where I would be scrambling down to the last second before having to run a guitar out onstage because the needle of my tuner would be jumping all over the place. The guitar's pickup would hear the body vibrating from the volume level of the PA as opposed to the string I was plucking. This, of course, confused the tuner. At one point I had a small, rack-mounted mixer that helped boost the signal and also allowed me to use the headphone output to hear the guitar before passing it on to my artist. It worked, but it definitely needed lots of improvement.
Aside from mixers, I've seen both techs and players use things like compressors or even an overdrive pedal to help boost the signal to their tuners by turning the gain down and the output wide open. These options work fairly well, but about eight years ago I stumbled onto something that would forever change the way I tuned during a live show.
I was at a gig in Maryland and got into an exchange of tips and how-tos with the headliner's tech. He offered to let me use this little gadget he had rigged up to see if it would help me as much as it had helped him. The idea was simple: solder the leads of a humbucker to a short guitar cable with a 1/4" male end on the opposite end. Plug the 1/4" into your tuner and hold the humbucker over the soundhole. The idea? A humbucker hears no ambient noise. It only hears a plucked string and does not care anything about what the body of an acoustic guitar is doing. The biggest difficulty I had that night was learning to hold it while having a finger free to pluck a string.
This simple idea made tuning in high volumes so easy, I actually stood in front of the PA and tuned, just to see if I could do it. It worked beautifully with no problems whatsoever. The needle held true to the pitch of the string and never once did it jump around violently like it would have if the guitar had been plugged directly in.
I'm sure most of you have a drawer or bag full of pieces and parts that you've long forgotten about. Try looking there first, but if you can't find an old humbucker try your local music store. The repair guy there will more than likely have something laying around on his bench that he'll sell you at a good price. The best thing to get is a bridge pickup, and the hotter the better. The cable length is up to you. All of mine have been about 2 feet long, which proved to be plenty. After you solder the cable, zip tie the cable to the mounting screw lugs of the pickup for a strain relief. I always wrap a single layer of tape around the coils, but this isn't neccessary, I just do it to protect the wiring and cover any sharp edges on the base of the pickup. That's all there is to it. Plug the 1/4" end into the tuner and hold it over the strings. I promise you will get a truer signal than plugging in and tuning will be faster and more accurate.
Now for the warnings. First, if you find a very high output humbucker you'll need to be careful as to how close you hold it to the strings. A strong magnetic pull can affect the way the string oscillates and cause the string to go sharp. Try to hold the humbucker at least an inch above the string to avoid this. Second, if you decide to use this with electric guitars, try not to hold it directly above the guitar's pickups for the same reasons described above.
If you're a player and you tune your own instruments you can use this device as well. Mount the humbucker to something that will hold it at the same height of the soundhole of your guitar while you have it strapped on. This is especially easy if your acoustic has a volume control. Simply turn the volume down, walk up to the humbucker, tune, and you're right back into the next song.
tuning-tool-diy gear gigging-advice gear-blog online-only tech-tales how-tos pickups-accessories humbucker acoustic whats-new
Chasing Down Noise Problems
Chad''s at his wit''s end with a noise issue, when the teeny-tiny solution presents itself.
In a perfect world, running all of your gear off of a unit that's supplying good, clean, consistent power and having everything on a common ground would eliminate noise issues. Unfortunately, from venue to venue and room to room there will still be a time you'll have grief from something not being 'properly earthed.' I'm thankful that for the last couple of years, my main use for those little gray ground lift adaptors has been to make up for the lack of rubber feet under one of my amps. Although, on things like TV appearances where I typically just have a few stompboxes instead of my rack, I still may have to lift an amp or two so that they'll play well with others—no big deal.
As I mentioned last column, we most recently had Brad's rack rebuilt by David Friedman of Racksystems. Now for quite a while after having the rack rebuilt, we were noise free. Even when we quite a bit of gain dialed in on the amps, they wouldn't be any noisier than if they were sitting idle with no input.
Then one day, out of nowhere, the noise came. There seemed to be no getting rid of it no matter what I tried. The cleaner sounds had ground buzzes, and the distortion patches were all but unusable. Even the wah pedal would vary from not very good to terrible. As I'm sure you all have experienced, ground problems are some of the worst to track down. They seem to come from anywhere, and it feels like the slightest little thing will cause them. I'm not the type of person who just accepts things and moves along—I have to fix it. I just about drove myself crazy looking for an answer to why my brand new rig was noisier than the old one. I was searching at every show from the time my gear was set up until soundcheck with no luck. Nothing worked, nothing helped and I successfully shocked myself three times.
There had been no change in the rack whatsoever, so I could rule that out. I tried ground lifting each amp and the rack one at a time with no luck. To make sure I wasn't overlooking something, I talked through every step of my entire routine with our monitor engineer Mark Gould. I remember telling him that I had even tried lifting the wireless and it either made no difference at all or it was worse. I had just about settled into the idea that there was a cable going bad, and to make it all the worse, that it was somewhere inside of the rack.
Now that I've brought up the wireless, I have to address two things. First, the Shure UR4D wireless has a ground lift for each channel on the backside of the receiver—and flipping this switch didn't help either. Second, I have another UR4D receiver for my acoustic guitars mounted in my workbox. Both electric and acoustic wirelesses share a pair of paddle antennas by way of Shure's antenna combiner. This was the only connection that these two wirelesses have, and even breaking that caused no improvement.
By a sheer stroke of genius, Mark took the two acoustic wireless output cables and disconnected them from the sub snake. Just like that, my rig was dead quiet! Two cables that have absolutely no direct contact with my guitar rig had caused me more grief than I've ever endured in my ten years of touring.
Now this is where it gets interesting. There was nothing wrong with these mic cables at all. The problem was elsewhere. Have you ever, in an effort to keep noise levels down, grounded your fourth pin on an XLR connector? You jump your ground wire over to the fourth lug, which is generally left open and sometimes it can quiet down a noisy mic line. These had been wired this way from the factory, I'm certain for the same reason, but none of us had ever dreamed two centimeters of wire would cause such a massive ground loop through my amps. Just like a vasectomy, one quick snip made all the difference in the world. Thank you again Mark for all your help!
So remember, next time you have some noise issues and you've exhausted every avenue you can think of... it may not be your rig.
chad-weaver-brad-paisley-guitar-tech-grounding-noise-wireless-buzz-rack whats-new brad-paisley online-only tech-tales gear-blog december-2009


Holy guacamole! This "famous maker" 22-inch monitor has more features than others costing twice as much, with speakers, a USB hub, and an HDCP-compliant HDMI input.
Remember the 24-inch rotating LCD for $199.99? Here's your chance to nab its 22-inch cousin for $139.99 shipped.
As with other Buy.com promotions of late, you have to use PayPal to get that price; otherwise, it's $149.99 (still an awesome deal).
Like the 24-incher, this "famous maker" liquid-crystal display is comparable to one of HP's monitors, namely the W2207H. In addition to the usual 1,680x1,050 resolution and 5ms response time, it features stereo speakers, a USB hub, and an HDCP-compliant HDMI input (in case you want to connect, say, a Blu-ray player).
The monitor can also rotate 90 degrees for portrait-mode computing, which is pretty slick for Web browsing, desktop publishing, spreadsheet...um, sheeting, and the like.
Because it's a refurb, the warranty expires after 90 days. That's the only real downside to this otherwise killer deal. It wasn't that long ago that I was crowing about feature-strapped 22-inchers for $199. Here's a fully loaded model for 60 bucks less. Yowza!
Update: If you didn't pull the trigger yesterday, today (Friday) is your lucky day: Buy.com is offering an additional $15 off when you pay with PayPal, bringing your grand total down to $124.99!


Being aware of the short period of time that is left to address Climate Change, the Global Co Lab Network and Smithsonian Conservation Commons started a new initiative together with teens from all around the world to fight climate change. To start this new adventure, a Co Lab or small gathering was organized on March 29th with teens and adults including three teens skyped in online.
This was the first of a series of Virtual meetings called Dream Hubs that will focus on global warming. Different scheduled virtual chats will be held occasionally to keep in touch and bring more teens into the network to encourage change locally. At this Co Lab 6 teen activists (from Spain and the US) and a group of adult activists met to start planning a new project whose aim is to design the Dream Hub site to encourage teens to join to help change this world issue. On this Dream Hub teen Ambassadors will lead efforts working with an adult mentor to empower other teens and to share their experience about fighting climate change.
Climate change is the change that are suffering the global climate patterns, which appeared during the mid-late 20th century onwards with the appearing of industrialization. The main cause is attributed largely to the increased levels of atmospheric carbon dioxide produced by the use of fossil fuels.


text:
Ни-Хор (также, Хор-Ни, Сокол II) — фараон так называемой 0 династии. Вместе с Пе-Хором, Хат-Хором, Хеджу-Хором и Ири-Хором относился к почитателям бога Хора (Гора).

Биография
Ни-Хор — фараон додинастического Египта, так называемой конфедерации с центром в Чени (др.-греч. Тархан) и/или Абджу (др.-греч. Абидос). Правил около 3050—2900 гг. до н. э., что соответствует фазам культуры Накада — IIIa1 и IIIa2. Фараоны этого периода включаются современными исследователями в условную 0 династию. Имя Ни-Хора, в основном, упоминается на глиняных и каменных сосудах, найденных в гробницах возле Тархана, Туры и Накады.

См. также
 Палермский камень

Литература
 Deutsches Archäologisches Institut in Kairo: Grabungsberichte Umm el-Qaab — Nachuntersuchungen im Frühzeitlichen Königsfriedhof. 1979—1990.
 G. Dreyer in: E.C.N. Van Den Brink (Ed.) The Nile Delta in Transition : 4th.-3rd. Millennium B.C.. 1992, S. 293—299
 G. Dreyer: Mitteilung des Deutschen Archäologischen Instituts Kairo 49. 1993

Фараоны по алфавиту
Додинастические фараоны
Правители Африки XXXIII века до н. э.
Персоналии по алфавиту

redpajama_set_name: RedPajamaWikipedia


Ten days before its official onslaught, winter arrived (Wham!) on the Canadian Prairies. I know, because I too, had just arrived on the Canadian Prairies. Oh, hurray.
As so often in life, you now have a choice. Do you want to share in my rant? Or do you want to Do Something About It?
The packed snow squeaks as I scamper carefully across the parking lot, moving as fast as I think I can without landing on my keister. It's not fast enough. In the less than thirty seconds it takes to cover the distance from the car to the hotel sliding doors, the sinus cavities behind my forehead start to ache: an ice cream headache without benefit of ice cream.
"Mars ain't the kind of place to raise your kids.
Cold as hell. Think about that for a minute.
OK, I can't locate the specific P.D. James mystery this quote comes from, and I might be misremembering its specific wording, but not its, you know, essence. It struck me at the time as an appropriately biting verdict on winter.
But as hellish as the cold and dry are, even worse are the inane comments about this ridiculous weather.
Truly, this one doesn't merit a response. I mean, what am I supposed to say? That I wish it were ten degrees colder?
Of course it's a dry cold. Sneezing doubles the relative humidity out here.
Conflating familiarity and acceptance, this response is the worst, both logically and emotionally. Of course I'm "used to" Prairie winters, in the same sense that I'm used to mosquitoes, the common cold, and political corruption. That doesn't make any of these things OK.
No, familiarity definitely breeds contempt.
Not for the first time, I reflect that any sensible geopolitical division of the North American landmass would accommodate more of the geo, dagnab it, and run north/south, rather than east/west. Think of the benefits of two or more countries running from the Arctic Ocean to the Gulf of Mexico.
With a single responsible governance entity, animal occupants would get better migratory corridors, mitigating the habitat threats posed by climate change.
Similarly, human occupants would get access to warmer climes in winter and cooler in summer without the added costs of foreign exchange and medical travel insurance, and without the added complexities of complying with different laws on gun ownership and marijuana use.
Natural physical barriers to east/west continental travel would facilitate border control. Fewer time zone ranges would simplify communication and foster commerce. Commonalities of character driven by similar geography, climate, and history of settlement would foster social cohesion. In-house access to clean northern water for southern population centres would reduce the potential for armed conflict.
And, of course, the really big question: Which spelling choices in English? Labour or labor? Centre or center?
But with the impending inauguration of a Negotiator in Chief in the USA, what better time to start? Write your Member of Parliament today.
The idea of north-south divisions is not new, you know. I saw the first exposition of this idea back in the 1980s sometime. He divided N.A.into six countries, as I recall: Atlantica, francophone Quebec, Industrial heartland, bread basket, frozen north, and Ecotopia. His divisions might not apply any longer, as the north is increasingly less frozen.
Still, the notion has validity. Someone should study how, and why, the geographical divisions of the continent seem to be reflected in psychological and social attitudes. A north-south division would yield more culturally unified countries.
Jim T – Yes, I also remember a conference of geographers predicting a six-fold split, but I don't remember the details. Regarding similar cultures in adjacent north/south areas, I think it's at partly that similar activities drive similar bases for societies (e.g. farming, fishing, forestry) and the continental geography is more similar north/south than east/west.
Tom – Yes, we were in Manitoba, too – blessedly, only for a few days. Yikes. Your response is the right one, I think. It's akin to "How are you?" They're not really asking, so your answer can be as pro forma as you like.
Chilled Vancouver commuters faced their second day of winter hell today, as an additional ¼ centimeter of the peculiar white stuff fell, bringing the Lower Mainland to its knees and causing millions of dollars worth of damage to the marijuana crops. Scientists suspect that the substance is some form of frozen water particles and experts from Saskatchewan are being flown in. With temperatures dipping to the almost but not quite near zero mark, Vancouverites were warned to double insulate their lattes before venturing out.
Vancouver police recommended that people stay inside except for emergencies, such as running out of espresso or biscotti to see them through Vancouver 's most terrible storm to date. The local Canadian Tire reported that they had completely sold out of fur-lined sandals.
Drivers were cautioned to put their convertible tops up, and several have been shocked to learn that their SUV's actually have four wheel drive, although most have no idea how to use it.
Weary commuters faced soggy sushi, and the threat of frozen breast implants. Although the Coastal Health Authority reassured everyone that most breast implants were perfectly safe to 25 below, down-filled bras are flying off the shelves at Mountain Equipment Co-op.
Barry – Cute! Just enough truth to be funny. Thanks.
and — buy a proper coat. The short, flared (!) pink wool one with its, albeit huge, fox fur collar just wasn't warm enough even if I did look adorable in it!
Barbara – Maybe you should write a manual for immigrants from warmer places. (Maybe that's redundant. Are there immigrants from colder places?) Anyway, a manual with illustrations, especially one of you in an adorable, short, pink wool coat with a huge fox-fur collar.


Choose your desired width and then choose the size that best fits your dogs neck. Please see how to measure for collar size.
If you would like your pet's name embossed on collar, please not name during check out.
Width Choose an option(1) -- 1/2"(2) -- 3/4"(3) -- 1"(4) -- 1 1/4"(5) -- 1 1/2"(6) -- 1 3/4"(7) -- 2"
Handcrafted Brown Latigo Leather Dog Collar made in the USA from heavy latigo leather that was tanned for strength durability and flexability. Each collar is hand cut from a hide of leather and inspected. Our collars are fastened with two press rivets that grab the back side of the collar like teeth.
Roller buckle and welded dee ring used on widths 3/4" and up.


text:
SCA Family Stories: Jay Gammill
The Director of Free Samples sits with SCA
It takes a truly dedicated filmmaker to take on the responsibilities of creating a feature film, whether it's their twelfth film or their first. As the industry changes and offers more opportunities for new directors to emerge in the independent scene, these responsibilities are no less challenging and require the utmost commitment to complete. For Jay Gammill, these experiences came firsthand with Free Samples.
Jay Gammill '07
MFA Production alum Jay Gammill sits down with SCA to discuss his first feature film Free Samples featuring Academy Award nominee Jesse Eisenberg, his experiences as a DIY filmmaker and to offer advice for aspiring directors.
What is your name and graduation year? My name is Jay Gammill, and I graduated from the MFA Production program in 2007.
Tell us a little bit about the project you have at Tribeca. Free Samples is a film I just directed. It's my first feature film, and it's premiering at Tribeca Film Festival this year. The story is a dramedy about a law school dropout who runs an ice cream truck for a day in Los Angeles. It's been about a three or four-year long process of getting it made, and I'm really happy that it's finally getting out there, which is often difficult to do for a first feature. But I've learned a lot, and I feel like I'm going to get even better as I move forward.
So you began working on this roughly right after you graduated. Did you have the idea for it while you were at school here? No, but when I graduated in '07 and just getting my thesis film out to festivals, I met a screenwriter out of New York; he had seen my thesis film and liked it. So we talked; I was trying to make my first feature, and we knew we wanted to work together, but my mindset was that I would not be able to get a studio budget for my first feature. He pitched me on the idea of this movie, Free Samples, which he then wrote. I spent about three years kicking it around, trying to meet with producers, getting various cast interested and so on, and we finally shot in December of 2010.
Without getting into too many gory details, what was the deal like? Was this one a good faith movie with lots of handshake deals? There were a number of good faith deals; however, coming out of school, the process I was aware of was to attach myself to a project and if I didn't write it, I would want to option it. So I started down that path.
Gammil on the set of Free Samples
Do you have a memorable or favorite war story while making the film? There were just so many challenges and struggles because we were shooting a low-budget feature. Much of the film takes place outside, and toward the end of our shoot, it rained non-stop for a week, so we had to postpone and finish a few weeks later, which was not ideal. One of the characters of the movie is the ice cream truck itself, and that broke down a few times. There were all these logistical things in the way, but nothing catastrophic on set. I would say that the three year journey leading up to it was not easy, finding the money and then not finding the money, when we'd think we would have a deal but it would fall through. But I stuck with it. You never know what's going to happen, but I found that persistence would end up paying off.
It seems like your generation that comes out of the School of Cinematic Arts is kind of a DIY generation or is becoming more like the 1970s style of doing it on your own. Do you find that to be true among your peers? I think that when I was there, it was changing to be like that, with the availability of equipment and things like that, students are more able to make films and do it themselves. I do remember, though, when I was going in, there was still that motto of the film school if you make your student film and spend a lot of money on that, that you can eventually get a huge feature off of that. The culture was changing, and the industry was changing, and that this wasn't really happening anymore. So now you kind of have to make a feature first on your own, someway and somehow, to get to that next level. Honestly, I'm still on that journey.
We shot my feature in 13 days. and I shot my thesis film in nine days. It's just crazy to think about what went into it, but the story of Free Samples fit our budget, and that's what I was aware of going in. I didn't want to take on something I could not achieve. I could not have made a feature with the production, location, budget, and so on that I had used on my thesis film.
How did it feel to be a part of Tribeca? I'm really happy to be at Tribeca. I'm almost surprised how many films that I'm looking forward to seeing there. I know the festival has been changing during the past few years, and I hope it continues on the path it's on.
If a student or prospective student wants to know more about your film, where can they follow up with you? Right now, you can go to freesamplesmovie.com, which will redirect to our Facebook page. You can follow us on Twitter as well with @freesamplesfilm. That's really how we're getting the word out.
Who was your thesis professor, and do you carry any pieces of wisdom from that professor as you go on with your career? My thesis mentor was Carroll Hodge. My experience with Carroll was great in that I knew she really cared about the film I was making. I felt safe; she was a safe person, and that was important to the process. Coming out of that, what I've gained is that I need to find those kinds of people in my life and take all of these questions, issues, and problems that I have to work out with their help. If you don't have that and you feel like you're alone, that's very hard.
A lot of MFA-Production students have some trepidation about taking 507. Do you have any advice for them? 507/508 made for the hardest year, and I think it's because you're thrown into it. I guess my advice is to just keep going and going. If you have something that doesn't work or doesn't land, don't worry about it. You can still recover, and you can still make great work. Don't let it get you down.
Do you have any advice for students who are about to graduate that are considering taking the DIY route of filmmaking or advice that you wish you had heard? I wish I had been more trained on how to go about doing the DIY approach. I essentially learned through trial and error. I did another short after film school, and I also remember going to independent film seminars, panels and things like that, one being AFM in Santa Monica, where they had panels on distribution and how to tackle doing a film on your own.
I had a hard time dealing with coming out of film school and remembering how to do it on the cheap like we did in 507/508.
What's next for you? I'm working on a few different projects and am interested in working with the screenwriter of Free Samples again. I've got a few irons in the fire. It's good to have multiple projects going.


text:
namespace weblayer {

namespace {

static std::string kTestValidScript = R"(
    var google = {};
    google.translate = (function() {
      return {
        TranslateService: function() {
          return {
            isAvailable : function() {
              return true;
            },
            restore : function() {
              return;
            },
            getDetectedLanguage : function() {
              return "fr";
            },
            translatePage : function(originalLang, targetLang,
                                     onTranslateProgress) {
              var error = (originalLang == 'auto') ? true : false;
              onTranslateProgress(100, true, error);
            }
          };
        }
      };
    })();
    cr.googleTranslate.onTranslateElementLoad();)";

static std::string kTestScriptInitializationError = R"(
    var google = {};
    google.translate = (function() {
      return {
        TranslateService: function() {
          return error;
        }
      };
    })();
    cr.googleTranslate.onTranslateElementLoad();)";

static std::string kTestScriptTimeout = R"(
    var google = {};
    google.translate = (function() {
      return {
        TranslateService: function() {
          return {
            isAvailable : function() {
              return false;
            },
          };
        }
      };
    })();
    cr.googleTranslate.onTranslateElementLoad();)";

TranslateClientImpl* GetTranslateClient(Shell* shell) {
  return TranslateClientImpl::FromWebContents(
      static_cast<TabImpl*>(shell->tab())->web_contents());
}

std::unique_ptr<translate::TranslateWaiter> CreateTranslateWaiter(
    Shell* shell,
    translate::TranslateWaiter::WaitEvent wait_event) {
  return std::make_unique<translate::TranslateWaiter>(
      GetTranslateClient(shell)->translate_driver(), wait_event);
}

void WaitUntilLanguageDetermined(Shell* shell) {
  CreateTranslateWaiter(
      shell, translate::TranslateWaiter::WaitEvent::kLanguageDetermined)
      ->Wait();
}

void WaitUntilPageTranslated(Shell* shell) {
  CreateTranslateWaiter(shell,
                        translate::TranslateWaiter::WaitEvent::kPageTranslated)
      ->Wait();
}

}  // namespace

class TranslateBrowserTest : public WebLayerBrowserTest {
 public:
  TranslateBrowserTest() {
    error_subscription_ =
        translate::TranslateManager::RegisterTranslateErrorCallback(
            base::BindRepeating(&TranslateBrowserTest::OnTranslateError,
                                base::Unretained(this)));
  }
  ~TranslateBrowserTest() override = default;

  void SetUpOnMainThread() override {
    embedded_test_server()->RegisterRequestHandler(base::BindRepeating(
        &TranslateBrowserTest::HandleRequest, base::Unretained(this)));
    embedded_test_server()->StartAcceptingConnections();
  }

  void SetUpCommandLine(base::CommandLine* command_line) override {
    ASSERT_TRUE(embedded_test_server()->InitializeAndListen());

    command_line->AppendSwitchASCII(
        translate::switches::kTranslateScriptURL,
        embedded_test_server()->GetURL("/mock_translate_script.js").spec());
  }

 protected:
  translate::TranslateErrors::Type GetPageTranslatedResult() {
    return error_type_;
  }
  void SetTranslateScript(const std::string& script) { script_ = script; }

 private:
  std::unique_ptr<net::test_server::HttpResponse> HandleRequest(
      const net::test_server::HttpRequest& request) {
    if (request.GetURL().path() != "/mock_translate_script.js")
      return nullptr;

    auto http_response =
        std::make_unique<net::test_server::BasicHttpResponse>();
    http_response->set_code(net::HTTP_OK);
    http_response->set_content(script_);
    http_response->set_content_type("text/javascript");
    return std::move(http_response);
  }

  void OnTranslateError(const translate::TranslateErrorDetails& details) {
    error_type_ = details.error;
  }

  translate::TranslateErrors::Type error_type_ =
      translate::TranslateErrors::NONE;
  std::unique_ptr<
      translate::TranslateManager::TranslateErrorCallbackList::Subscription>
      error_subscription_;
  std::string script_;
};

// Tests that the CLD (Compact Language Detection) works properly.
IN_PROC_BROWSER_TEST_F(TranslateBrowserTest, PageLanguageDetection) {
  TranslateClientImpl* translate_client = GetTranslateClient(shell());

  NavigateAndWaitForCompletion(GURL("about:blank"), shell());
  WaitUntilLanguageDetermined(shell());
  EXPECT_EQ("und", translate_client->GetLanguageState().original_language());

  // Go to a page in English.
  NavigateAndWaitForCompletion(
      GURL(embedded_test_server()->GetURL("/english_page.html")), shell());
  WaitUntilLanguageDetermined(shell());
  EXPECT_EQ("en", translate_client->GetLanguageState().original_language());

  // Now navigate to a page in French.
  NavigateAndWaitForCompletion(
      GURL(embedded_test_server()->GetURL("/french_page.html")), shell());
  WaitUntilLanguageDetermined(shell());
  EXPECT_EQ("fr", translate_client->GetLanguageState().original_language());
}

// Test that the translation was successful.
IN_PROC_BROWSER_TEST_F(TranslateBrowserTest, PageTranslationSuccess) {
  SetTranslateScript(kTestValidScript);

  TranslateClientImpl* translate_client = GetTranslateClient(shell());

  NavigateAndWaitForCompletion(GURL("about:blank"), shell());
  WaitUntilLanguageDetermined(shell());
  EXPECT_EQ("und", translate_client->GetLanguageState().original_language());

  // Navigate to a page in French.
  NavigateAndWaitForCompletion(
      GURL(embedded_test_server()->GetURL("/french_page.html")), shell());
  WaitUntilLanguageDetermined(shell());
  EXPECT_EQ("fr", translate_client->GetLanguageState().original_language());

  // Translate the page through TranslateManager.
  translate::TranslateManager* manager =
      translate_client->GetTranslateManager();
  manager->TranslatePage(
      translate_client->GetLanguageState().original_language(), "en", true);

  WaitUntilPageTranslated(shell());

  EXPECT_FALSE(translate_client->GetLanguageState().translation_error());
  EXPECT_EQ(translate::TranslateErrors::NONE, GetPageTranslatedResult());
}

// Test if there was an error during translation.
IN_PROC_BROWSER_TEST_F(TranslateBrowserTest, PageTranslationError) {
  SetTranslateScript(kTestValidScript);

  TranslateClientImpl* translate_client = GetTranslateClient(shell());

  NavigateAndWaitForCompletion(GURL("about:blank"), shell());
  WaitUntilLanguageDetermined(shell());
  EXPECT_EQ("und", translate_client->GetLanguageState().original_language());

  // Translate the page through TranslateManager.
  translate::TranslateManager* manager =
      translate_client->GetTranslateManager();
  manager->TranslatePage(
      translate_client->GetLanguageState().original_language(), "en", true);

  WaitUntilPageTranslated(shell());

  EXPECT_TRUE(translate_client->GetLanguageState().translation_error());
  EXPECT_EQ(translate::TranslateErrors::TRANSLATION_ERROR,
            GetPageTranslatedResult());
}

// Test if there was an error during translate library initialization.
IN_PROC_BROWSER_TEST_F(TranslateBrowserTest,
                       PageTranslationInitializationError) {
  SetTranslateScript(kTestScriptInitializationError);

  TranslateClientImpl* translate_client = GetTranslateClient(shell());

  NavigateAndWaitForCompletion(GURL("about:blank"), shell());
  WaitUntilLanguageDetermined(shell());
  EXPECT_EQ("und", translate_client->GetLanguageState().original_language());

  // Navigate to a page in French.
  NavigateAndWaitForCompletion(
      GURL(embedded_test_server()->GetURL("/french_page.html")), shell());
  WaitUntilLanguageDetermined(shell());
  EXPECT_EQ("fr", translate_client->GetLanguageState().original_language());

  // Translate the page through TranslateManager.
  translate::TranslateManager* manager =
      translate_client->GetTranslateManager();
  manager->TranslatePage(
      translate_client->GetLanguageState().original_language(), "en", true);

  WaitUntilPageTranslated(shell());

  EXPECT_TRUE(translate_client->GetLanguageState().translation_error());
  EXPECT_EQ(translate::TranslateErrors::INITIALIZATION_ERROR,
            GetPageTranslatedResult());
}

// Test the checks translate lib never gets ready and throws timeout.
IN_PROC_BROWSER_TEST_F(TranslateBrowserTest, PageTranslationTimeoutError) {
  SetTranslateScript(kTestScriptTimeout);

  TranslateClientImpl* translate_client = GetTranslateClient(shell());

  NavigateAndWaitForCompletion(GURL("about:blank"), shell());
  WaitUntilLanguageDetermined(shell());
  EXPECT_EQ("und", translate_client->GetLanguageState().original_language());

  // Navigate to a page in French.
  NavigateAndWaitForCompletion(
      GURL(embedded_test_server()->GetURL("/french_page.html")), shell());
  WaitUntilLanguageDetermined(shell());
  EXPECT_EQ("fr", translate_client->GetLanguageState().original_language());

  // Translate the page through TranslateManager.
  translate::TranslateManager* manager =
      translate_client->GetTranslateManager();
  manager->TranslatePage(
      translate_client->GetLanguageState().original_language(), "en", true);

  WaitUntilPageTranslated(shell());

  EXPECT_TRUE(translate_client->GetLanguageState().translation_error());
  EXPECT_EQ(translate::TranslateErrors::TRANSLATION_TIMEOUT,
            GetPageTranslatedResult());
}

}  // namespace weblayer

redpajama_set_name: RedPajamaGithub


text:
Environment & Energ…
Turning 34 Universities in Seoul into Green Campuses
Universities are usually regarded as energy-guzzling places. In connection with the ongoing energy saving campaign this summer, which is seeing one of the worst power supply situations in recent years, 34 universities in Seoul signed an agreement with Seoul City to join the campaign to save energy and reduce greenhouse gases. In a ceremony... Read more
08/06/2013 SMG	2977
Jogyesa Temple to Take Part in the Campaign for 10% Reduction of Energy Consumption
Jogyesa Temple, a leading temple of the Jogye Order of Buddhism, will take part in the campaign for reducing energy consumption by 10% in an effort to put into practice Buddha's teaching not to kill any living creature and join in the worldwide efforts to cope with climate change. Such step by the temple is taken to cooperate with Seoul City concerning the l
Seoul Metropolitan Government Secures 28 Year-long International Emissions Allowance for its Photovoltaic (PV) Project
Seoul City has secured 28-year-long international emissions allowance for its photovoltaic (PV) project, which has been registered as part of the Clean Development Mechanism (CDM). CDM is one of the methods of greenhouse gas reduction adopted under UNFCCC (UN Framework Convention on Climate Change) with the effectuation of the Kyoto Protocol in 2005. Registered b
Seoul Metropolitan Government to Fine Businesses that do not Comply with Energy Saving Instructions Starting July
Starting July, buildings that do not comply with Seoul City's energy saving instructions will be slapped with a fine of up to 3 million won per case. The energy saving instructions include keeping the entrance doors shut or maintaining indoor temperature of not lower than 26℃ while the building's air-conditioner is turned on. The country is e
Seoul Metropolitan Government Starts New Program for Energy Saving Campaign
Seoul Metropolitan Government has started the Ha-ha-ha (literally meaning "one thing a day during the summer") Campaign as part of efforts to get over the dog days and save energy wisely. On July 5, Seoul Metropolitan Government held the Summer Cool Fashion Show and a session for teaching how to make hand-held fans at... Read more
Seoul Metropolitan Government Holds Green Exhibit Titled Save the Earth
Seoul Metropolitan Government is holding a green exhibit titled Save the Earth between July 8 and July 31 at the lobby of the New City Hall. Items displayed are good-quality, environment-friendly ones made by SMEs, including waterless urinals, compact diapers, and hanji (traditional Korean paper) socks. The exhibit is being held to introduce diverse green products (32 in all) and build people's consensus on energy conservation. The event will be divided into three sectors: energy saving, e
Have a Good Time This Summer in the Camping Sites Provided by Seoul Metropolitan Government!
[Noeul Park Camp Site, Where You Can See the Most Beautiful Sunset in Seoul]The one in Noeul Park Camp Site, which was opened in May 2010, is a popular family camping site in Seoul. There, you will feel as if you are in a rural area, looking at stars in the sky and hearing the chorus sung by frogs. The place boasts of a playground filled with wooden stru
Seoul Metropolitan Government to reduce waste from City Hall to zero
Seoul Metropolitan Government has launched a campaign to reduce waste generated in City Hall by up to 80% compared to last year. Effective July 1, the city will get rid of ordinary waste bins in the new City Hall and the Seosomun annex and encourage employees to take part in recycling. In an effort to enhance the level of recycling, the city will subdivide recyclable waste bins into those for paper, cans/bottles, PET bottles/plastic goods, and paper cups. Vinyl waste will also be collected as re
Seoul Metropolitan Government Launches Trial Nitrogen Oxides Reduction Program on LPG Taxis
As the first attempt of its kind in the country, Seoul Metropolitan Government launched a trial program for the reduction of nitrogen oxides emitted by vehicles using 400 LPG taxis. Under said program, the city replaced for free the three-way catalytic converters (TWC) installed in LPG taxis whose performance guarantee period has passed with... Read more
Seoul Metropolitan Government to Provide Positive Support for Photovoltaic Power Generation Facilities for Buildings
Seoul Metropolitan Government announced a policy for all-directional support to invigorate the small-scale photovoltaic power generation system, which is riddled with many difficulties, such as short hours, high rent, construction expense, sale of RECs, etc. Said system is a method of production and sale of power using a device usually installed on the rooftop... Read more
Waste Vinyl to be Used as New Energy Source
Vinyl waste products such as coffee mix bags and cookie bags which we use in our daily lives will be used as a new energy source. Seoul Metropolitan Government signed an MOU with POSCO Energy for the recycling of waste vinyl; it will distribute the POSCO Energy made bags to be used to collect... Read more
Seoul Metropolitan Government to Avoid Power Blackout This Summer in Cooperation with the People
Seoul Metropolitan Government announced that Seoul City Hall, autonomous district offices, and all affiliated institutions will do their best to save electricity to address problems in power supply and avoid power blackout this summer. Under the plan, the work for photovoltaic power generation facilities will be completed earlier. The pumping of water into the... Read more
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(Environment & Energy news)
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