The CTA Awards Committee thanks this week's Platinum Sponsor DG Logik for their continued support. DGLux provides you with all of the tools you need to build applications or "App Yourself" without ever writing code. Use the dockable functionality for automatic layout, positioning, and scaling of charts and components to build elaborate dashboards in minutes; or take advantage of the free positioning canvas with the freedom to create dynamic interactive applications. CUSTOMIZABLE INTERFACES – SOPHISTICATED, PERSONALIZED DASHBOARDS.
BAS Cyber Risks: It's Not Just About the Numbers. It's a Business Case. Corporations must budget money for insurance and good legal advice. The rising Cyber Threat and the possible consequences, fully justify IT security measures. The following article by Marc Petock, Vice President of Marketing at Lynxspring, Inc., as published on AutomatedBuildings.com, provides a compelling business case.
Contemporary Controls: BASremote Updated with Trending and Password Authentication: October 2013 — With the release of 3.7.0 firmware, the popular Contemporary Controls BASremote has been enhanced with a new trending feature and Password Authentication. Additionally, firmware updates are now much easier and can be completed via a webpage.
Announcing The 2013 ControlTrends Awards Finalists: The ControlTrends Awards Committee thanks its world-wide community for its participation in selecting these prestigious nominees. The ControlTrends Awards proudly presents the 2013 ControlTrends Finalists.
Install Honeywell MVN Valve Actuators Without Using Tools: Honeywell has introduced a very cool easy to install valve actuator, the Honeywell MVN valve actuator. With no tools needed for installation, thanks to a one handed click design, the Honeywell MVN actuator provides faster and easier installation and less commissioning time than other ball valve actuators.
Transformative Wave's CATALYST Averaged 57% Energy Savings On Existing Packaged RTUs. EasyIO's Seattle based OEM achieves excellent Energy Report: Department of Energy Report Validates Transformative Wave's CATALYST as a Retrofit Solution Providing on Average 57 Percent Energy Savings On Existing Packaged Rooftop Units!
Ken's TOP 5 Information Pivot Points of Week 43: 1. Join Jim Young, Howard Berger, Darrell Smith, Brad Sill and many others at CoRE Tech 2013, a unique gathering of the world's most proactive, visionary corporate real estate, facilities, energy, sustainability, HR and IT executives.
Product Review: The Johnson Controls Variable Frequency Drive: The Johnson Controls Variable Frequency Drive is nominated for the ControlTrends Awards Variable Frequency Drive of The Year for the second year in a row. What makes the Johnson Controls VFD so special? How have they improved the product offering since the 2012 ControlTrends Awards? Ken Smyers made sure to get the answers to these questions at the Johnson Controls 2013 Business Conference.
Honeywell Momentum On Tour Comes to Atlanta: Honeywell's Larry Andriunas led a spirited corps of product specialists and application experts at Stromquist Company's Momentum On Tour. The new MOT marketing concept is Honeywell's idea to take the product launch — in person, to their distributors, contractors, and the specifying engineers and roll the products out at the ground-level, with the additional personable measures that allow for immediate demonstration and adoption. Based on the strong customer interest and enthusiasm at the Stromquist Company today, the concept is working! More on MOT from Honeywell's Amy Anderson.
Lynxspring CyberPro — Protect Your Building & Energy Management Systems: New Cyber Security Solution that Enhances Protection of Building and Energy Management Systems Now Available. LYNX CyberPRO™ is Industry's First Cyber Protection Solution for Building Automation, Energy Management and Building Environments. LYNX CyberPRO is the industry's first cyber-threat protection solution designed specifically to enhance the protection of commercial building automation and energy management systems. LYNX CyberPRO was developed by Lynxspring, a recognized leader in open platform technology and device-to-enterprise integration solutions for Building Automation, Energy Management and Equipment Control, in conjunction with Netop, a leader in secure remote software solutions used by half of the Fortune 100 companies.
Honeywell's JADE Economizer and New Economizer Tools: JADE Economizer and New Economizer Tools. Three new economizer tools are now available for free to download at: http:customer.honeywell.com/economizer tools. The New Savings Estimator has a new look and updated features which include: Selectable enthalpy changeover curves for using the "A, B C or D" OR JADETM economizer boundaries.
Ken's TOP 5 Information Pivot Points of Week 44: 1. Better Late Then Never: HID Global's top 10 access control trends for 2013 TREND #6: Mobile access control is accelerating identity management's move to the cloud, supported by new managed services. Companies have already begun outsourcing their traditional badging projects to cloud-based service providers that have the scale and resources to handle large-volume orders with tight deadlines that would otherwise be difficult for an individual credential issuer or integrator to accommodate on its own.
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Today's healthy breakfast recipe: Oatmeal baked with pumpkin plus fall fruit, pumpkin-pie spices and nuts. There's just enough pumpkin for color and moisture without making the oatmeal dense and heavy.
The last few weeks, I've been made one pan of Easy Baked Oatmeal after another, twice with blueberries and bananas, twice with apples and pears (and the all-important bananas), then twice more with pumpkin and pears (and more bananas). It took some tweaking to get the right amount of pumpkin and pumpkin-pie-type spices and the baking time right, but the last batch was just excellent.
What makes Baked Oatmeal so good is, first, the oats, there's a lot of them and the texture is totally about the oats. But they're barely sweet - I made it with sorghum (my favorite), maple syrup, honey and even one of those sugar-free syrups people put in their coffee, all were excellent. Still, the fruit adds such a critical dimension of both sweetness and texture, the bananas on the bottom, the soft fruit throughout the oats. The nuts, too, some in the oats, some on top, what great texture contrast. So yes I'm really high on this recipe, it's the first time, I think, that I've published two variations of the same recipe on both Kitchen Parade and A Veggie Venture.
But then again, you might just chalk it up to, you know, Pumpkin Fever.
OAT MIXTURE In a large bowl, whisk the egg, then whisk in the milk, pumpkin, sweetener, butter and vanilla. Stir in the oatmeal, 1/4 cup toasted walnuts, baking powder, spices and salt. Stir in chopped pear.
TO COMBINE Arrange the banana pieces in the bottom of baking dish, cover with Oat Mixture. Arrange pear slices decoratively on top, sprinkle with ¼ cup toasted walnuts and raw sugar.
BAKE Bake uncovered for 50 – 60 minutes until top is golden and oat mixture has set. Let cool for 5 – 10 minutes.
TO SERVE Cut into nine pieces, serve warm plain or drizzled with a little warm maple syrup or my favorite for temperature contrast, half & half.
LEFTOVERS Cover and refrigerate, this may look like "cake" but it's not. Rewarms beautifully in the microwave in 30 seconds.
SWEETENER - I'm partial to sorghum but have also used maple syrup, honey and even a sugar-free almond syrup. All work!
TODAY'S VEGETABLE RECIPE INSPIRATION Adapted from my recipe for Easy Baked Oatmeal with Apples & Walnuts or Easy Baked Oatmeal with Blueberries & Bananas, this Baked Oatmeal with Pumpkin is just one more adaptation! It takes more spices and takes longer to bake, otherwise, there are minimal adjustments to the recipe.
baked oatmeal is my favorite! this sounds fab!
I have yet to make baked oatmeal and really need to get on this! Looks amazing. The perfect fall breakfast!
This sounds great but I was wondering why the bananas? I can't eat bananas so I want to make sure they don't have a purpose except that you enjoy them.
Natalie ~ It is, it really is!
Katherine ~ Yes, it strikes me as "very fall" too.
ApotheCaring ~ I do happen to really love the bananas here, they add another layer of flavor, a contrast in texture and some sweetness too. Could you make the Baked Oatmeal without? Yes ... but I might chop up an apple for the bottom layer. Let me know how it goes!
I may be missing this, but I don't see pumpkin included in the steps. I am guessing mix in with the oats and pears?
Unknown ~ So sorry for slow reply, I was away from my computer plus am having phone issues and couldn't reply on my phone. Darn technology!
Thanks for letting me know that the pumpkin is missing in the instructions, I've fixed that now. But one thing you can count on with my recipes is that the order of ingredients is very very specific, so that if an ingredient "happens" to be missing in the instructions (which of course with proofing it shouldn't be) you'll be able to tell from the order of the ingredients!


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Films & Schedules - A
ARRESTING POWER: RESISTING POLICE VIOLENCE IN PORTLAND, OREGON
DIRECTOR: JODI DARBY, JULIE PERINI, ERIN YANKE - OREGON (PORTLAND, OR)
(DOC) ARRESTING POWER speaks to the history of police violence in our society, providing a framework for understanding the systems of social control in Portland and its history of exclusion laws, racial profiling, redlining, and gentrification practices. Through conversations with community leaders including Walidah Imarisha, author of the "Oregon Black History Timeline," JoAnn Hardesty, and Rev. LeRoy Haynes of the Albina Ministerial Alliance Coalition for Justice & Police Reform, Dan Handelman of Portland Copwatch, and Kent Ford, founder of the Portland Chapter of the Black Panther Party, the filmmakers explore strategies for community safety that do not employ constant...
(DOC) ARRESTING POWER speaks to the history of police violence in our society, providing a framework for understanding the systems of social control in Portland and its history of exclusion laws, racial profiling, redlining, and gentrification practices. Through conversations with community leaders including Walidah Imarisha, author of the "Oregon Black History Timeline," JoAnn Hardesty, and Rev. LeRoy Haynes of the Albina Ministerial Alliance Coalition for Justice & Police Reform, Dan Handelman of Portland Copwatch, and Kent Ford, founder of the Portland Chapter of the Black Panther Party, the filmmakers explore strategies for community safety that do not employ constant surveillance and unneeded violence. "Delivers a vital message with an artful clarity."—The Oregonian.
Interests: Documentary/Narrative.

redpajama_set_name: RedPajamaCommonCrawl


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Home » Soccer » Harry Maguire delivers Man Utd rallying cry ahead of Champions League pursuit
Harry Maguire delivers Man Utd rallying cry ahead of Champions League pursuit
Harry Maguire has delivered a rallying cry to his Manchester United teammates as they aim to secure Champions League football next season.
United have gone unbeaten in their last 10 games in all competitions, with Maguire helping them keep eight clean sheets in that period.
They remain in contention for the FA Cup and the Europa League.
A 2-0 win on Sunday in the Manchester derby also saw them close the gap on fourth-placed Chelsea to just three points.
The captain is pleased with their defensive improvement.
He told MUTV: "We need to build on clean sheets. It is a foundation.
"If we keep a clean sheet, it is a cliche, but, if you keep a clean sheet, it gives you every chance of going on and winning the game.
"Eight in 10. Defensively, all season, we have not been a team that has been all over the place and conceding numerous chances. We have never been that team.
"We have conceded sloppy goals at sloppy moments. Set-plays, long-range shots, special goals but, lately, we have cut it out.
"We have been defending set-plays and I can tell you that is a big bonus.
"It is the key to start picking up good results and that is what we have done."
Despite the impressive triumph over Manchester City , he's still demanding more from the team.
He added: "We don't want to be a team that gives up possession really easily.
"I didn't feel there was any need for me to start telling the full-backs or centre-halves to start jumping more, or trying to start putting pressure on higher up the pitch because we were 1-0 up and didn't feel under threat in terms of them creating chances.
"But we don't want to be a team that doesn't have a lot of the ball. We want to be a team that controls the game, especially at home.
Where are world class players Stoke signed now – from Barcelona trio to PSG star
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How does Pep Guardiola make the numbers add up for Man City and Erling Haaland?
Chelsea 'ready to sell N'Golo Kante' to fund Kai Havertz and Ben Chilwell moves
« Champions League coronavirus chaos as fans banned from PSG vs Borussia Dortmund clash
Barcelona 'confident Chelsea target Ter Stegen will sign new deal' »


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AuthorHouse UK brings the AuthorCentricSM publishing process to English writers seeking publication. We believe that authors should remain in charge of their books and give them creative control throughout the publishing process. At AuthorHouse, we continue to help authors reach their publishing goals, whatever they may be.
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"It was an opportune time to sell the retail condominium due to the market and our ability to drastically reduce our basis for the residential apartments upstairs," Jordan Vogel, principal at Benchmark said.
City records indicate that the buyer of the East Village condo is 452 Amsterdam Ave Trevi LLC. No-one from Trevi Retail was available for comment by press time.
Benchmark bought 55 Third Avenue for $57 million in December 2013 and re-tooled the mixed-use building. It now contains over 50 residential units and 10,500 s/f of retail space.


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Home | Miscellaneous | Tasting Interview: Brian Cronin, MS
Tasting Interview: Brian Cronin, MS
Posted by Tim Gaiser | Feb 27, 2016
Everyone's journey to the Master Sommelier title is unique. For good friend Brian Cronin it included seven attempts at the exam before finally passing. Along the way there were stints at some of the country's top restaurants as well as moving to Hawaii and temporarily losing his sense of smell. In Chicago Brian worked for Charlie Trotter starting as the assistant sommelier under another Master Sommelier, Joe Spellman. He (Cronin) eventually worked his way up to head Sommelier. In Hawaii Brian worked as an Educator for Southern Wine & Spirits and then back stateside as Wine Director for the St. Regis Hotel in Dana Point. Later he worked as a sommelier at Gary Danko Restaurant and as a retailer at Peter Granoff MS' Ferry Plaza Wine Merchant. Most recently Brian served as National Educator for Jackson Family Wines. Currently he's an active member of the CMSA (Court of Master Sommeliers, Americas) examining and teaching at all levels as well as serving as an elected member of the Board of Directors.
As part of my ongoing tasting project Brian and I met at my house on July 17th, 2012. We used Riedel Vinum Pinot Noir glasses for the tasting. The primary wine used for the tasting was the 2009 Chateau La Gardine Châteauneuf du Pape; we also tasted the 2010 Double Bond Zinfandel from Paso Robles.
Background, Exams & Food and Wine Pairing
TG: How many times did you take the Master's Exam?
BC: Seven times.
TG: What changed that made it possible for you to pass on that seventh time? I seem to recall that living in Hawaii for several years and experiencing allergies was an issue.
BC: The first time I sat for it four months after the Advanced which we don't allow people to do anymore. I was working at Charlie Trotter's at the time and passed the Advanced in August and then took the Master's Exam for the first time the following February. I zeroed—I didn't pass anything. The next year I passed service and theory and then I moved to Hawaii. I developed a problem with smelling and didn't know what it was at the time; I thought it was a cold. Over the course of that year I found out that it was volcanic fog and sulfur and my sinuses became impacted. It really affected my tasting and I started looking for ways to get out of Hawaii. It's really expensive to move to and from there—about $12,000 each way.
After my first reset I passed service and theory again the following year before finally managing to get out of Hawaii. I sat the Master's about three weeks later and I didn't pass the tasting again but I noticed a huge difference–I could smell again. But I didn't have the grid or structure down. So over the course of the next year I really worked on the grid and reattaching markers to descriptors because I had such a huge problem with not being able to smell. I literally had to re-associate smells which was really
TG: How did you do that?
BC: By just smelling wines over and over again. It was like I knew what the smell was but couldn't attach it to a description. It's like having your hand in a cast and being able to move your pinkie; like retraining it.
TG: Did you work with smell memory in general? Just try to remember what various fruits and other things smelled like?
BC: Right. I didn't really spend time working on my grid because I always knew it. But if you can't attach it to a smell then you have a problem. Even today when I talk to people the first question I ask is how often are you blind tasting versus tasting? Because if you're blind tasting but not tasting you're not learning anything. To me it's the biggest part. You see people who just don't know markers for classic varieties; they just know a grid for a classic wine. It's really strange. You can make the experiential methodical–you can be methodical about how you experience things. On the floor in service I don't think you can, but you can make a methodical experience out of tasting.
I was describing it once to someone and they said that it sounds like some kind of transcendental-hippie way of learning to think experientially. Say for instance I wanted to work on Rhônes this month then I'd be tasting however many Rhône wines looking at the label and incorporating then into a dinner or what have you and still learning. In fact, in that context you're probably learning better in many ways. I also remember when I moved back to San Francisco and started to take the exam again. I'd be taking the dog for a walk and I'd be doing wines in my head.
TG: When you say you'd be doing wines in your head, what does
that mean?
BC: For instance I'd pick Sancerre as a generic category and I'd go through the entire description in my head as if I was saying it out loud.
TG: As you're doing that are you literally creating the smells and flavors in your head?
BC: Yes and it's really interesting in the context of the work you've been doing. With food and wine pairing, I noticed that when we were working on the cookbooks at Charlie Trotter's and sometimes I didn't have an exact answer for some of the parings I can up with. It's like I could literally "see" flavors.
TG: How do you see flavors?
BC: It's like I can picture a steak and taste it right now and I can picture wines and taste certain characteristics. I categorize flavors, like here are the warm flavors over here (gestures to his left). So it's like warm flavors have a category whether it be spices or roasted fruit or stewed fruit. So I could meld a wine and a dish together. I could see flavors in this dish and I could see flavors in that wine. The only other thing that wouldn't be perfect would be the structural elements. Until I tasted this particular Sancerre, for instance, I wouldn't be able to see if it would work with an element in a particular salad dish.
TG: When you say you're melding the two together, how do you do that? It looks like you've got image of steak here and then multiple different images of wines that could work.
BC: I'll give you an example; it was one of the first times it happened. It was fennel salad. Charlie used to do this fennel confit salad with asparagus and jus on the bottom. The first thing that popped into my head was that it was really elegant fennel and maybe I want to accentuate it and make the fennel really pop. The first wine that immediately came to mind was Spottswoode Sauvignon Blanc because it wasn't green–it had a lot of fennel in it.
TG: But it seems like it's all 3D in your head because of the way your eyes are moving out here and your hands are describing it in space.
BC: Yes it's like a hologram in front of me.
TG: After comparing the food image/memory with multiple wine images do you just taste them so to speak?
BC: Yes.
TG: Do images of labels or bottles pop up with the wines or what happens?
BC: I picture the whole wine–the bottle and the label. Sometimes I might get a couple of labels for a dish and the one that's closer to me internally is usually the one that works better.
Tasting – Overall Goals
TG: Now it's time to taste. To begin what are your goals when you taste? What are you trying to do?
BC: The first thing is varietal identification, then old world or new world and style identification—breaking down very simply those points. Do I recognize the wine, the producer and the other things?
TG: When you were a buyer for the restaurant what were your goals?
BC: Would other people like the wine? Or is it some esoteric style I like? Or is it something that could really be cool with the menu? I had a couple of different mentalities: first there was Charlie Trotter's and then there was the other going back as far as North Carolina when I was first starting to become a buyer and had a finite number of spots of the list. For that it was
asking if a wine would sell or is the boss going to yell at me? I only had 30
spots on a small hand-written list. Most of the time it was thinking about if a wine would sell on its own or would I have to be the one to sell it. First of all, was it a good wine and did I like it.
TG: What are important criteria for anyone tasting to be able to do a good job? That would include glassware, environment etc.
BC: Your nose and aromatic identification. Even before I lost my sense of smell I liked the taste of wine but really preferred the nose aspect of it.
TG: What about equipment? What do you need?
BC: Good glassware; it doesn't have to be anything over the top. I could easily use Riedel Overture to taste and even enjoy drinking wine. So a white wine stem that's crystal is good. Even when professionally tasting I try to keep the glassware as simple as possible. You never know what kind of glassware you'll be using so if you get used to tasting with a basic stem you do fine. Also sometimes you find a lot more things in a wine using more expensive glassware but you also tend to find more flaws.
TG: What are your beliefs about your own tasting abilities and you as a taster?
BC: Some of them might be slightly off the wall. Overall I think my descriptors are dead on and very specific. I get very specific down to the style of fruit in terms of fresh vs. cooked vs. desiccated. Maybe even
sometimes a brand of something such as Craisin or even down to specifics of how I would like fruit and tannin together in a repertoire of teas that taste
TG: What about your own beliefs about your ability to taste?
BC: If I could rate myself as a taster out of 100 percent I would probably rate at 83 (laughs). Before moving to Hawaii I was much more comfortable and confident. I think it was a mental confidence versus a physical ability.
I think my comfort level is much more on the theory and practical. Sometimes I have an amazing tasting day but that's because of how I'm thinking, my frame of mind. Some people have it all the time. But the flavor memory part I know is always there. It's just being able to use the force that day …
TG: You're right. It's the force (laughs). You have your memory and then you have what's in the glass and the force is what's in between.
TG: When you're looking at a glass of wine to examine it, what you trying to do?
BC: The first thing I look at is the rim. I don't go straight into the center; I actually look at the rim first and then move inward breaking down if it's a thin-skinned or thick-skinned grape and then if there's any kind of color variation. I try to categorize as quickly as I can any color variations as in any orange or pink/purple hues. If it's a white wine I look for green. I'm mainly looking at hues. I don't look at viscosity a lot but unless it's really staining (for red wine). The viscosity is the least important part of it; if we put several different 15% alcohol wines next to each other, they're all going to tear very differently. Part of it's the variety in terms of thin or thicker skins but there are all sorts of things that can affect viscosity.
TG: Hence the great debate ongoing about even using the term viscosity. In looking at color are you trying to assess age?
BC: It's categories of varietals first. Then I'm looking for other things. Most of the time if you get a wine that shows garnet in any way or age in any way you know you're dealing with an older wine. But until you smell it or taste it you can't categorize how old it is. But I'm always looking for categories of varietals first.
TG: How do you know when you're done looking at a wine? How do you know when it's time to smell the wine?
BC: It's funny but when I'm looking at a wine I'm checking my nose at the same time.
TG: Say more about that.
BC: I ask internally if I'm ready to smell and may take a sniff to see if my nose is clear and ready to go. If I'm describing the wine out loud it's however long it takes to describe it. If I'm just looking at the wine it's pretty quick. I might give myself five to ten seconds if I'm just looking at it.
TG: During this time do you use the MS grid as kind of a check list?
BC: I use parts of it but not all of it. Clarity I look at but the brightness factor not so much. Color and hue I jump to right away. I can still see the grid and so go to those things right away. My grid is always clear, clean, bright, color, hue, viscosity, gas …
TG: You have your right hand out right out in front of you about ten to fifteen inches away. Is that where you see the grid? What's it like? Is it a white sheet with the grid on it?
BC: Sometimes I see a sheet of paper I typed out after I took the Advanced. I think Evan (Goldstein) called it the "Brownstone method." I typed it out which is basically our grid. Sometimes it just pops in and other times it's right there (points out in front at chest level).
TG: But it seems like whatever it is it's right out in front of you and you just go through it and check things off to make sure you remember everything.
BC: Right.
TG: What I've found over the last year is that experienced tasters have set eye patterns when they taste, specifically a consistent starting eye position. I will be curious to see if that's true for you. So when you smell wine, is there a place that you look that seems more familiar and/or more comfortable for you to look?
BC: It's almost a semi-circle.
TG: But where do you start?
BC: Lower left and then I move over to the center.
TG: So as you move over to the center what's going on?
BC: As I'm looking right here (down and to the left) I'm noticing dark fruit with spice. And I'm already starting to qualify it by saying, "what's that?"
TG: So you smell a dark fruit such as …
BC: Fruit like a dark blackberry.
TG: You're pointing down like it's waist-high and left of center. It also looks like it's about 15 inches in front of you. With that, if I had to be you what would it look like? What do you see?
BC: It's a picture of the fruit.
TG: 2D? 3D? Picture of a berry all by itself?
BC: It's more like a cluster of darker berries. There's red fruit too and they're individual red type fruits.
TG: With those it seems as if you're pointing slightly down and straight out in front of you.
BC: It's all pretty much in the same place although the red fruits are slightly higher up.
TG: Just curious, when you first started talking about the fruits you mentioned that you qualify it as in fresh vs. dried.
BC: The original thought for the red fruit was that it was higher up vs. where the dark fruit was. So maybe if the fruit is darker and riper I see it lower down vs. tarter red fruit that I see higher up.
TG: In other words there's an arc of sorts that has to do with color and ripeness. As the fruits get tarter they images go up and to the right. It curves over. Is there any kind of color thing that lets you know how ripe or how tart the fruit is? Or is it just kinds of fruit and how they are positioned in this arc?
BC: More like fruits in positions.
TG: So where is something like rhubarb or cranberry? Something
really sour; where would that be?
BC: Tarter things and spices are up and over to the right side.
TG: So you've got this 3D cluster of dark berries and a single red berry; any other kinds of fruit?
BC: Yes, there's almost like a chutney that combines some spice and fruit elements.
TG: Where's that? I noticed that you were looking out there (straight ahead and slightly up to the left).
BC: If I don't initially get something in the wine it's like I'm moving my eyes across and letting images pop up.
TG: So it's like your calibrating as you smell the wine and look around. That's very cool because you can be really precise with it. What does the chutney look like?
BC: It's like looking into a jar of chutney or looking at a pot of chutney cooking. I can see the types of fruit in it, cherries, rhubarb, spices, cloves etc.
TG: You also mentioned spices over here to the left and slightly down. What do they look like?
BC: Individual spices like you put five jars of spices out in a row. Piles of
spices.
TG: What about other non-fruit type things?
BC: There's pepper but it's in the chutney. It's like fresh cracked pepper but it doesn't really stand out. There's also a slight gaminess to it.
TG: What's that like?
BC: It's a slight gaminess and meat. It's right in the center.
TG: You're literally holding your right hand in the center right in front of you.
BC: If it's kind of an arc, then the meat is here (points to the center about chest high). There are dark, warm characteristics to the meat such as bloodier things as opposed to more sanguine dried meat.
TG: So there's almost a range here too.
BC: From deep, dark and bloody on this side over to higher-toned sanguine dried blood on this side.
TG: Where is this arc?
BC: It's just below the arc of the range of fruits. Maybe it's also has to do with the weight. Maybe it's because I think in terms of weight of whatever it
TG: Any other non-fruit things?
BC: There's definitely some herbal characteristics such as Herbes de Provence; also lavender and things like harder, more dried herbs.
TG: Where are the herbs?
BC: They're higher up (reaches up and to the right). It follows around to the spices in almost an orb. Like in a round glass fish bowl.
TG: It's like a sphere and things have arcs and curves. The fruit seems to go from down left for ripe, darker fruits curving up and to the right for red, tarter fruits.
BC: Funny, as we were talking just now I was thinking about citrus fruits and they go across up here (almost at head level) but also in an arc.
TG: Throughout all this is the MS grid anywhere that you can see it or use it?
BC: Initially yes because the first thing I'm looking for is what kind of fruits, but not right at the moment. I use it for what kinds of fruits and qualifying the style of the fruits. Looking at this wine it's definitely thin skinned and yet dark at the same time so I'm already considering things that might be covered by the color.
TG: When you first put your nose in the glass do you say something to yourself?
BC: Nothing really consistent. It could be anything like, "wow, the fruit is ripe here" or "this is exactly what I was thinking" or "this is not what I was expecting at all" or "what the hell is that?" Simple kinds of frames.
TG: What about the earthiness in the wine? Where is that? What's it
BC: Right now the only earthiness that was standing out was the
darker meat and the dried herbal characteristics. However, if I start thinking about chalk, granite and those kinds of things they would be straight up here.
TG: Right in front of you about 15 inches away at eyebrow level?
BC: Like I'm looking at my eyebrows.
TG: What's it like?
BC: I see actual pictures of actual soils.
TG: 3D or actual pictures?
BC: 3D. Sometimes I see the ground or sometimes I see a pile of soil like the piles of herbs. Usually it's something I've seen before.
TG: Is there a way that you check the quality of the earthiness like you check the quality of the fruit?
BC: Similar in that it moves left to right from chalk to dark earth.
TG: When you look up here (up and to the left) what are you checking for? Do you have a check list or a grid that you're working with?
BC: I'm going from inorganic to organic soils with the more alkaline, powdered chalk, gravel and limestone; then it becomes darker earth going to the right. The lighter things are to the left and the darker things are to the right.
TG: The final thing is oak. How do you get that?
BC: Dead center in the circle. If it's older it's to more to the left and then the newer, heavier toast things are to the right.
TG: Do you have images for it?
BC: Yes. New oak is a brand spanking new barrel that could be standing up in a package or it could be in a chai like at Opus or in a chateau—as in a lot of money and wood. If I look more to the left of that circle I'd see pictures of old barrels like the ones we saw in Jerez; like a barrel almost falling apart as in dried, decaying wood.
TG: OK, let's see if we can put this whole thing together: Starting with the fruit, describe the whole sequence to me.
BC: This would actually be an interesting thing to draw out. With fruit it's darker fruit down left getting into brighter fruits up and to the right; like dark cherry all the way to rhubarb and things like that. The more tart they are the more right of center or even clustered around center. Also the harder more vegetal things like rose hips tend to be on the right as well.
TG: Then the chutney is straight out in front.
BC: Right, straight out in front about arm's length. Everything's in a kind of globe out in front of me.
TG: Where is the meat again?
BC: The meat is almost dead center; like a bullseye that's darker in the center then getting lighter with the more sanguine, dried character.
TG: How's that in relation to the soil? Behind it? In front of it?
BC: The soils are down below then the chutney and the meat above. The herbs are to the right and up in a bowl. Then up here to the left are light citrus things like spiced orange or orange marmalade that would be used in
TG: We didn't talk about flowers. Are there flowers?
BC: Dark flowers are here, up and to the right past the earth. White flowers are also to the left of the earth.
TG: That's a pretty complex map. But what's interesting about it is that
everything is in a sphere all in close proximity so you can easily organize it.
Submodalities
TG: Let's play with the wine a bit. Go ahead and smell the wine and what's a really dominant feature in the wine for you? What really pops?
BC: The dark blackberry juice.
TG: That's down here to the right. What happens if we change the location of that and put it up here and to the left? Smell the wine and tell me what
happens.
BC: It doesn't affect the wine but it's a really odd feeling.
TG: OK but when you smell the wine for blackberry and you move
the image of blackberry does the wine change?
BC: It makes it less strong.
TG: Reset it. What happens if you take the image and make it really huge? Does that make is stronger or less strong?
BC: No change.
TG: OK, put it back. What happens if you make the image black and
white?
BC: It accentuates everything acidic in the wine.
TG: Reset it and then what happens if you expand your sphere out as you smell the wine? Let it bubble out and grow. It's a bigger sphere and everything is bigger.
BC: Nothing really changes but it made me think of how I'm looking at the scale in terms of the actual wine. With aromatic wines I think it's further out vs. other wines where it could be much tighter, closer. Now that I'm thinking about it I'm wondering if I can look at it farther away.
(At this point TG opens a different wine, a 2010 Double Bond Zinfandel from Paso Robles)
TG: So what's this wine like? The same distance away? Different?
BC: Same distance and immediately I'm scanning from tarter to darker fruit
and the different kinds of spices.
TG: When you scan is it a color gradation or something else? A
scale? If I had to be you, how would I do it?
BC: No, it's not a color gradation but more like colors and pictures of the actual fruits.
TG: Are they all lined up next to each other? How does that work?
BC: They're going from a harder plum to a tarter cherry all the way to a
cherry that's rotting.
TG: So you're just matching them up.
BC: Yes, it's like I'm saying, "that works, that works"etc.
TG: Before we taste the wine, how do you know you're finished smelling it?
BC: When I can't find anything else. Or nothing else stands out immediately. I know that if I keep smelling the wine I might be able to smell other things but then everything else disappears.
TG: When you say disappears …
BC: There's only so many times I can recognize that same fruit, that same spice, that wood, all those kinds of things If I keep smelling then I've killed those kinds of scents. From there if I smell other things I consider them kind of irrelevant. Because if you keep smelling the wine you'll probably be able to smell VA after a while or who knows what. Unless something is initially there on the first few sniffs I consider it irrelevant.
TG: Taste the Chateauneuf again and as you're tasting it what are your goals? What are you trying to do?
BC: I try to go into the palate clean and not think about the things I've smelled. I think you get a clear description in your mind when you go to something new; then you can connect it or disconnect it to what you smelled. With this wine I thought, "what was my initial impression when I smelled the wine?" Immediately it was the dark berry characteristic but I thought that it was darker than what it was on the nose.
TG: So how does it change? It was right here (motions down and to the
left).
BC: It was still dark and in the same place. Then it went to uber acid up here and to the right. I wasn't thinking in terms of fruit it just crossed up and to the right.
TG: Does it change positions?
BC: The acid took it over here.
TG: So how does that work?
BC: It changed positions going from the realm of is it "fruits,
fruits, fruits" or "ACID!"
TG: So how do you know it's not fruit and acid?
BC: It may be the fruits. I started going through the tarter fruits and on to the finish of the wine. My mouth started to water so it's just acid.
TG: So there's a sequence of tarter fruits and then acid.
BC: Right. There's a sequence from the tarter fruits going to acid. That was just the initial impression of it.
TG: So taste it again and how do you compare it to the nose in terms of the set up and all these things? Are they relatively the same? Different? And if different, how so because the fruit quality has definitely changed.
BC: Everything that I'm looking at as far as the fruits is the same. Still going from the dark to the tarter, redder fruits.
TG: What about the spices over here?
BC: Spices still there; earth and meat still there. Herbs–more lavender but still there. But there's some new wood on the wine. I still see some older
barrels but I'm definitely leaning more to the right side and getting more of an image of new barrels–actually the inside of a new barrel.
TG: 3D-type picture?
BC: Yes, cross sections of the inside of a new barrel. Again the older stuff is to the left and the newer stuff is to the right and I can see the cross sections of a new barrel over here (points to the right) with some degree of toasting.
TG: What about the earthiness?
BC: Still the same with the darker earth and stone with a little bit of iron. I see the color of the earth right here (motions).
TG: Is that a picture of the soil itself? 2D or 3D?
BC: It's a 3D picture.
TG: One of the last things I'll ask you about the palate is the structure. How do you figure out how much acid, alcohol and tannin is in the wine? How do you know that it's medium vs. medium-plus acid? Go ahead and taste the wine again start with what's easiest for you. Acid? Tannin?
BC: Acid. I usually do acid first because I'm still feeling it in my mouth whereas the alcohol becomes a function of figuring out the acid.
TG: So what do you do to calibrate the acid?
BC: For this wine I went right over there and thought screeching acidity.
TG: So you're pointing out front and above shoulder level. What if it's low
acid?
BC: It's here. It seems like there's a line that goes from here to here (points straight out at shoulder level and up higher); from low to high.
TG: How do you calibrate? Are there markers on the line? Does something move? What goes on?
BC: It's almost like there's a marker that moves.
TG: Is there a button or something like that?
BC: No it's just a little line, a hash mark.
TG: But are there calibrations from low to high?
BC: No it's just for low and high with the line.
TG: So when you taste does the marker move or do you get the idea first and then it moves?
BC: With that one it moved right away but I know that sometimes if I taste a wine and I'm not sure what it is I'll move the marker until it fits.
TG: So you're taking the calibration with the marker and moving it until it matches up. What about alcohol? Does it work the same way?
BC: Interesting. It's also on the left but it's like a target that gets bigger or smaller depending on how much alcohol is in the wine (He makes a circular motion out in front of him chest high). Does that make sense? Here's the center of the target and the higher the alcohol the darker the target becomes. It's like concentric circles and the higher the alcohol the closer to the bullseye and darker in color. If it's more to the outside it's lighter in color with less alcohol.
TG: How does it work? Does it expand and contract?
BC: Yes it expands and contracts and also changes color depending in how much alcohol.
TG: What about tannin? Is it the line thing again?
BC: Yes, it's the line thing only it's straight up and down. High tannins up here and then lower tannins down here (Points to a line straight out in front should height and down).
TG: Is there a marker that moves on it like the one for acid?
BC: Yes but it's more like a dot on the line that's moving.
TG: It seems like high tannin is straight out in front of you at eye level.
BC: Yes, it's like the acid line is here and then the tannin line is below.
TG: How about residual sugar? Do you have something for that?
BC: I just thought of Sauternes and it's way out there (points out in front).
TG: Is it beyond the sphere?
TG: What about a really dry wine? Where is that?
BC: Same place.
TG: When you taste something how do you know if it's dry vs. off-dry or slightly sweet vs. medium sweet? How do you know?
BC: Actually it's another kind of bullseye but farther out. It's a separate thing outside the sphere, sweet on the outside and then dry in the center.
TG: So you're looking at the center of the bullseye and it expands if it's sweet.
BC: Right, it's the same kind of thing as the concentric circles for tannin.
TG: Is the tannin circle red?
BC: No, it's yellow.
TG: Do you use the same kind of thing for fortified wines?
BC: I think so. I'm trying to picture a Port and it's going to the same place.
But I'm also going back and forth to tannin and other things.
TG: So did you know that you did any of this?
BC: I did have some idea—but not this specific. A lot of times I know I'm scanning something and trying to find out where it fits. But this was like doing it in a slower, more specific fashion.
TG: You start by looking here (down and slightly left of center) but you're immediately looking at all kinds of scales and gradations to ID things in specific positions. What's interesting to me is that everything in your sphere is relatively close to you so it's really tight and focused. If you think about it, it's really good because you can keep a lot of things in your field of attention/awareness at the same time. Someone else whose field is farther away would have a hell of a time pulling this off. If you were coaching them you'd have to try to get them to pull everything closer in to improve their focus.
Finally, how do you know when you're done tasting the wine? Is it like the nose when you run out of things?
BC: It's like I know it's all there.
TG: In making a conclusion about a wine, what do you do? You've got all this information. How do you put it all together?
BC: I've described it all so I bring it all back to a common denominator and run through things it could be.
TG: Like a Rolodex?
BC: Yes, it's like circling.
TG: So you're making circle motions out here (out in front). What's this circular apparatus? How does it work? Is it images of wines or labels?
BC: It's usually labels but sometimes it's the grape first. But if I'm not sure then it wavers and I go back and forth. Sometimes I start with categories of grapes and go back and forth. So if I'm looking at this I might say, "It's Barolo but then does it have those acid and tannin characteristics?"
TG: Are you literally asking yourself these things internally?
BC: Yes, I'm asking myself. If I've narrowed it down to either Sangiovese or Nebbiolo then I'll start breaking it down and asking, "does it have X or does it have Y? Does it have these fruit characteristics or this spice characteristic?"
TG: OK. On a related note, I don't know about you but for me the wines live in different places in my mind's eye. For me Sangiovese is here (Eye level slightly left of center) and Nebbiolo is here (Slight above eye level and slightly right of center). Is it the same for you?
BC: No, they're both in the same general area.
TG: I try sometimes try to take wines and make them into something that they're not. I literally will put them in other places just to see what happens. They usually pop off the new location and go back to where I usually find them.
BC: Sounds good.
TG: To close, I'm thinking about the whole tasting process in the context of the exams. We work with students and they practice on their own and in groups, but then they have to be in the right zone for the exam to do well. A lot of it has to do with confidence but there's something else as well.
BC: Whenever I've had a good tasting confidence is always the key. Nervous energy keeps you all over the place and prevents you from focusing in on the fruits, the earth in a categorized way. I've also noticed that when people are doing nothing in a tasting they're looking all over the place.
TG: Agree. I would say that people with experience tend to have a pretty consistent place they look when they start and then other places to look when they generate images, compare and file. I also think using a grid for people like us who have MS training is huge. When I'm tasting and really focused the grid is the size of a billboard or a game show board. I think
practically all of us with MS training use the grid consistently if only subconsciously.
BC: I'd be curious if you actually blindfolded someone, you couldn't see where their eyes were going. And if the wines were all red or all white and the same temperature, how would they think? I've tasted out of black
glasses before and it's a really interesting experience.
TG: True. I also think that expectations and belief are powerful filters that start a sequence of thinking. For instance, when you pick up this glass and look at the color of the wine you have instant expectations about the wine including fruit profile and structure. White wines not so much but red wines much more. So if you take the color away then the function has to be
BC. True but for me I look down here and then up here; then ask is it a red wine or a white wine? Is it in these realms? It's all pretty interesting.
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Tim Gaiser is a internationally renowned wine expert and lecturer. He is one of 240 individuals worldwide to attain the elite Master Sommelier wine title and is the former Director of Education and Education chair for the Court of Master Sommeliers, Americas. Tim continues at the Court on the Board of Directors and sits on the exam standards and exam development committees.
ALFONSO CEVOLA on November 5, 2013 at 9:43 pm
Thanks for sharing this post, Tim. Very interesting about the volcano and sulfur…we were talking about that up on Mt Etna this summer.
by the way, I love the imagery – you really take it to another level, very compelling and intellectually stimulating…Grazie
Tim Gaiser on November 6, 2013 at 12:38 am
Alfonso, thanks for reading and glad you like it. It's amazing to explore the strategies of fellow professionals and how different they can be. If you have time, please read the post on Emily Wines. Her strategies for tasting are completely different from Brian's and unique to say the least. Cheers!
Alfonso Cevola on November 6, 2013 at 11:33 pm
will do…thanks, Tim


Hello there. Recently I've got an email with interesting request. Basically the website owner would like to automatically disable registration as soon as number of users exceed some predefined limit (in our case it will be 50 users).
By default WordPress core does not have the ability to do so, however this the help of very simple callback method and Access Policy you can accomplish this at no time.
Note! Keep in mind that this example does not take in consideration user roles, so basically it check only the total number of users. The functionality can be easily extended to cover your needed. Check WordPress core function count_users for more information.
Note! The entire functionality is based on the idea that new user can be registered only when WordPress core option users_can_register option is set so. This is how WordPress core determines if user can register or not with the default /wp-login.php?action=register endpoint. If you are using third-party solution for the user registration, you have to consult with its developers to make sure that this check is implemented (which it should be based on how WordPress core works).
Step #3. Attach defined policy to visitors and you good to go.


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Lecture Explores History of US-Arab Relations [on Nathan Citino]
The Peninsula - Qatar
https://www.meforum.org/campus-watch/25689/lecture-explores-history-of-us-arab-relations-on
The shared history of modernisation between Arabs and Americans was expounded at a recent lecture at Georgetown University in Qatar (GU-Q), where Professor Nathan J. Citino shared insights from his recent book Envisioning the Arab Future: Modernization in US-Arab Relations, 1945-1967.
Citino is a professor at Rice University who specialises in the history of US and the world with a focus on the Middle East. His talk focused on modernisation as a key theme of US Arab relations during the Cold War and included case studies of global Arab travel and conflicts over the development of post-revolutionary Iraq.
"The study of past Arab-American relations can help us to see contemporary issues in new ways," said Citino.
"Not so long ago, the dominant political discourse in the Arab world concerned secular economic development, and Arabs and Americans spoke a common language of modernisation."
The lecture was based on findings from Citino's book, which includes new research in both Arabic and English. The book assesses the regional implications of US power while examining a range of topics that transcend Arab-Israeli conflict, such as travel, community, gender, oil, and agriculture in both the United States and the Middle East.
The historian, who holds a Ph.D. from Ohio State University, is also the author of From Arab Nationalism to Opec: Eisenhower, King Saud, and the Making of US-Saudi Relations. He has published widely, including articles in titles such as Diplomacy and Statecraft, the International Journal of Middle East Studies, the Business History Review, the Arab Studies Journal, and Cold War History.
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For decades, Chemical manufacturers have been leveraging best practices in supply chain management and manufacturing to improve efficiencies and lower costs. By utilizing approaches like Six Sigma, companies have identified and driven out unwanted variation in many areas of manufacturing and production.
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Improving price realization, or the amount of price that you actually receive, is the single greatest step you can take in improving profitability. But, where do you begin? What are the most likely areas a chemical company can dramatically improve profit?
Download this eBook to discover 5 key areas of opportunity for better pricing in chemicals and best practices for maximizing value while driving more revenue to your bottom line.


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HomeHopewell Valley NewsHopewell NewsChief to retire from Hopewell Township Police Department
Chief to retire from Hopewell Township Police Department
Hopewell Township Committee members have accepted the retirement of Chief of Police Lance Maloney.
The retirement of Maloney, who has been chief of police for the Hopewell Township Police Department since 2014, was accepted by committee members at a July 20 committee meeting. Maloney has been a member of the department for 26 years and rose through the ranks from patrolman to chief of police.
His retirement is effective Aug. 1.
"As I contemplated this decision over the past year I have been able to look back proudly on my years of service for the residents of Hopewell Township and Hopewell Borough. I have been fortunate to have worked with dedicated and professional officers throughout my career, where officers care about the residents of Hopewell Valley," Maloney said in his remarks.
Maloney added that he is confident in the police department's ability to provide premium service for residents.
"While our nation, state and Hopewell Township grapple with issues regarding law enforcement I am confident that the members of the Hopewell Township Police Department will continue to provide premium and professional service to our residents," he said.
Maloney's retirement comes at a time when the police department and township continue to address the investigations and suspensions of township police officers and employees regarding improper social media conduct. The accusations of improper social media conduct involved a Facebook post referring to the Black Lives Matter Movement as a terrorist organization.
The police department has also been grappling with a lawsuit by township officer Sgt. Michael Sherman. Sherman filed the lawsuit in 2019 against the department alleging years of harassment and racist comments he experienced as an officer in the department.
"I am here to honor a man who I think is one of the most stand up people during a time when people are asking more from the police. He is retiring from a job of 26 years and this is a time, a place, and experience where people are asking hard questions of police, policing and what people are doing," Committeewoman Julie Blake said. "I think we can ask those questions and demand more, but honor someone who is so fantastic and honorable. Lance Maloney has shown up when people were at their worst and would do anything for the residents."
Committee members went on to share their experiences with Maloney during the discussion prior to the vote on the resolution accepting his retirement.
"I know I am not the only recipient of comfort from him. When people are at their worst they need that calm voice and he has always done that. I have also seen him interact with the Youth Advisory Board in presenting to them," Mayor Kristin McLaughlin said. "He has always connected with those kids in a powerful way and has helped them understand the why behind the rules. He never said no when I asked him to speak and those were additional hours to the community."
She added that Maloney was as good of a man that the township could have had as chief of police.
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Hopewell Township Police Department
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Art as a team effort
David Bonetti, EXAMINER ART CRITIC
July 6, 1999 Updated: Feb. 6, 2012 11:37 a.m.
YERBA BUENA Center for the Arts is billing its constellation of summer exhibitions "Team Works," but two of the five installations were made by artists working alone. The fact that the two solo contributions are the most striking puts a certain damper on the organizing concept, but the additional fact that only one of the group installations is not ready for prime-time viewing means that, whatever its conceptual holes, the quintet of shows, which continues through Aug. 15, is worth checking out.
The two solo projects, by Cathy McClure and Kumi Yamashita, both use shadows in their work, so you can see them as a package, even if they were each conceived separately.
What is it about shadows these days? Heidi Kumao, who showed at Yerba Buena last year, and Sheila Pepe, who had an impressive show earlier this year at the Jennjoy Gallery, both used shadow images in their work.
In the '80s, French conceptual artist Christian Boltanski placed delicate cutouts on long, narrow shelves that threw trembling shadows on the wall.
In any case, the use of shadow imagery invariably brings us back to childhood when shadows suddenly appearing out of the dark tended to be ominous no matter what their sources. With its ghostly presence, shadow imagery is central to the Gothic sensibility, the set of ideas and feelings suggesting horror and mystery that is so popular today.
In a gallery statement, McClure, a young Seattleite, wrote, "My intent is to place an audience in a mesmerized state induced by optical illusion and sound. Visual magic."
If visual magic is her goal, McClure is 100 percent successful. Her three installations using motion, light and sound are astonishing, a visual and aural three-ring circus that scares and delights equally. They are so effective that they could bring even a curmudgeon to a state of childlike wonder.
McClure defines herself as a metalsmith, and the basic components of her work are tiny abstract effigies of human figures made of silver, copper, brass and steel that look like miniature grandchildren of Bauhaus master Oskar Schlemmer's mechano-morphic sculptures.
McClure arranges figures in circles on rotating metal disks and plays lights on them - some stroboscopic - that throw their variously swelling and ebbing shadows on the wall.
Music further serves to set the mood. One piece is accompanied by raucous carnival music, featuring a demented calliope, another by an orchestra that plays music that sounds like a yearning post-Wagnerian score by Wolfgang Korngold. But because the pieces are installed so closely, the music bleeds into each other, so the madly rotating figures and the furiously strobing images are joined by cacophonous, overlapping sounds. A total sense sensation.
You leave this visually and aurally throbbing magic theater with relief, but you wouldn't not have experienced it for the world.
Yamashita's "Shadow Profiles and Portraits" are by comparison sedate, but to achieve her effects, the Japanese-born artist has to work her own brand of magic.
Yamashita places wooden blocks apparently randomly on the wall, but a raking light throwing shadows that define highly specific images - a man's profile, a striding nude woman - demonstrate that there is a very precise method to her work. Another piece is made of sheets of white-painted copper the size of typewriter paper. Wrinkled at the edge slightly, they throw shadows of the profiles of a variety of people upon the wall.
The most successful of the collaborations is the series of ceramic vessels by veteran Bay Area artists Richard Shaw and Robert Hudson. Made during a residency at the Addison Gallery of American Art at Phillips Academy outside Boston, the work brings together two artist / friends who last collaborated together on a body of work, shown then at the San Francisco Museum of Modern Art, some 25 years ago.
(This is a good time to remember the great age of Bay Area ceramics with this lively collaboration and the Saxe collection of contemporary crafts at the de Young Museum.)
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The 75-odd works at first all look like the product of the same hand: spontaneous, surrealist objects with a heavy funk pedigree. But the more you look, the easier it is to differentiate who made what. (None of the pieces is a true collaboration in which both artists create a single work. Whatever interactions the two had while working side by side, each piece is assigned to only one of them.)
Shaw, the ceramist, does the most professional work: He is on home ground. Hudson, the sculptor, is a little less sure of his materials, but he charges right ahead anyway. The results of their parallel play are utterly insouciant.
Shaw is the master of trompe-l'oeil illusionism, and his characteristic repertory of forms - pencils, sticks - and decaled images - playing cards, stamps - appear here. (Look for a fragment of a review by former Examiner film critic Barbara Shulgasser in one.) But he has added a number of casts of lizards, frogs and turtles that I believe are new to him.
Hudson remains the post-cubist collagist. His familiar French curves, cubes and forms suggesting cosmologies are all present here.
"Nothing But Ways," a multimedia installation by filmmakers Trinh T. Minh-ha and Lynn Marie Kirby, is also impressive. Long plastic sheets imprinted with fragments of poems by poets such as June Jordan, Audre Lord, Mei-Mei Berssenbruge and Barbara Guest are suspended in a large square gallery. Lights flash on and off slowly, and as you walk through the installation, the lines of verse come and go into your consciousness as in a dream.
The big disappointment here is the Fletcher + Rubin + Thompson collaboration "The Boy Mechanic," which fills the center's big gallery with a group of objects that are so oblique in meaning that I doubt if anyone other than their makers know what the heck they are about.
Fletcher + Rubin is a young art team that has attracted a lot of local attention. One can only hope this is not a good example of their work. Mark Thompson is a survivor of the local conceptual art scene that flourished here in the '70s who has moved to Orinda to commune with bees and doesn't seem to have anything interesting to say about it at all.
Fletcher + Rubin, who make a practice of involving ordinary people in their work, have chosen Thompson as their subject here. They all appear to cavort in the ponds and back yards of the outer suburbs like some rejects from a Bruce Weber Abercrombie & Fitch shoot. I guess you could call what they do an example of straight white male art.
There is some inchoate critique here. A wall of trees made from plywood, each equipped with backpack straps, suggests that the return to nature is a weekenders' avocation, and a canoe that comes in three separate parts, one for each participant in this misguided team work, suggests that even in nature we are alone.<
David Bonetti


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Frank Hunter (b. 1947)
Laura Diaz, New Georgia Encyclopedia,
Light Passage
Hunter was born in August 1947 in El Paso, Texas. He lived in Atlanta for sixteen years and is best known for his work in platinum/palladium photography.
The platinum/palladium technique dates to the nineteenth century and uses iron salts instead of silver salts to produce images with a wider tonal range than any other photographic process. Hunter used this technique in the early 1990s, with the support of the Fulton County Arts Council and the Georgia Council for the Arts, to produce large-scale photographs. In Atlanta, his work appears in the collections of the Museum of Contemporary Art of Georgia and the High Museum of Art, where in 2003 he exhibited photographs, commissioned by the Federal Reserve Bank, documenting Midtown Atlanta at the beginning of the twenty-first century.
In 2010 his exhibition Still Point of the Turning World opened at Duke University in Durham, North Carolina, where Hunter joined the faculty after leaving Atlanta. His work is also found in the collections of the Denver Museum of Art in Colorado, the Houston Museum of Fine Arts in Texas, and the Speed Art Museum in Louisville, Kentucky.
Hunter's photograph Light Passage (1987) is part of Georgia's State Art Collection.
Dennis Darling (b. 1947)
Larry Jens Anderson (b. 1947)
Robert Conrad Detamore (b. 1947)
More in Georgia's State Art Collection
Steven I. Steinman
John D. Young
Margaret Via
Media Gallery: Frank Hunter (b. 1947)
Diaz, Laura. "Frank Hunter (b. 1947)." New Georgia Encyclopedia. 31 August 2018. Web. 16 January 2020.
Frank Hunter Photography
Museum of Contemporary Art of Georgia: Frank Hunter
Duke University Libraries: Guide to the Frank Hunter Photographs, 2010
CDS Porch: Still Point of the Turning World: Photographs by Frank Hunter
Thomas Deans Fine Art: Frank Hunter
Georgia Council for the Arts
Digital Library of Georgia: Georgia's State Art Collection
More in Arts & Culture
Teresa Williams
Historic Savannah Foundation
Polly Harrison (1946-2007)
Fiddlin' John Carson (ca. 1868-1949)
On the Plantation
Ruth Laxson
Nathalie Dupree (b. 1939)
Henry Hugh Proctor (1868-1933)
Tom Graffagnio
Atlanta Colored Music Festival Association
James Herbert (b. 1938)
Helen Hamada
Michael Torlen
Primus E. King (1900-1986)
James Walker Fannin Jr. (1804-1836)
Elizabeth Lichtenstein Johnston (1764-1848)
Henry McNeal Turner (1834-1915)
Worcester v. Georgia (1832)
Horace King (1807-1885)
Sea Island Company
Nan Haid
Eliza Ann Grier (1864-1902)
Anthony Grooms (b. 1955)
Larry Stueck (b. 1951)


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Efforts to improve Canadian access to internet and cell phone services
From CBC.CA
Liberals urge more internet, cellphone competition
The Liberals are calling for stronger competition and rules on internet and cellphone services.
"We have a real competition problem in this country that is reflected in the high prices Canadian consumers pay for service," said consumer affairs critic Dan McTeague in a statement. "We need some real action with concrete proposals to lower prices and improve cellphone and internet service for urban and rural Canadians."
The Liberals, in the policy statement published Friday, said the net neutrality framework introduced by the Canadian Radio-television and Telecommunications Commission last week does not protect consumers from having their internet connections tampered with by service providers.
The decision gave ISPs permission to enact "technical measures," such as the slowing of internet traffic, in order to combat congestion on their networks.
"The recent CRTC decisions do not go far enough to create a truly competitive and open internet environment in Canada," Industry critic Marc Garneau said in the statement. "All internet networks, including wireless networks, must treat all lawful content, applications and services in a non-discriminatory manner."
The policy position specifically calls for the government to follow the example being set in the United States by setting clear principles and regulations on what internet service providers are allowed to do with their networks. ISPs should be required to treat all lawful content, applications and services in a non-discriminatory manner, the Liberals said, and they should have to do so on wireless networks as well.
The Liberals are also urging the creation of clear rules that would give wholesale internet providers access to incumbent networks for the cost of the service, plus a reasonable markup.
On wireless, the Liberals want clear rules that would force existing cellphone companies to share their cellphone towers and sign equitable roaming agreements with the several new providers that are looking to start up. The policy position also wants the reinstatement of the online cellphone calculator that was ditched by the government after lobbying from the wireless industry.
"New entrants are still having a hard time getting into the market to provide services to Canadians," McTeague said. "The federal government should also re-instate the online cell phone calculator to provide greater transparency for Canadians."
The Canadian Wireless Telecommunications Association, an industry lobby group, rejected the need for new cellphone rules or the online calculator.
"Canadians have many choices for wireless services in a hypercompetitive marketplace, with more than two dozen wireless service providers, including three national carriers, several strong regional players, numerous high-profile resellers, discount brands and several new companies launching services soon," said association president Bernard Lord, the former Conservative premier of New Brunswick.
"The online tool was so limited in its scope and ability that it would have been completely ineffective, and it would have hindered rather than assisted consumers with making informed purchasing decisions."
The Liberals' position is similar to statements made by the NDP, who also favour new measures to encourage competition in internet and cellphone markets.
The position statement comes a day after the CRTC told potential cellphone provider Globalive that it cannot do business in Canada because it does not meet Canadian ownership and control requirements. The CRTC also issued a decision that endorsed Bell Canada's ability to slow down certain uses of the internet.
The government has said it has already taken steps to boost internet and wireless competition, with spending on expanding rural broadband and an auction of airwaves last year that it said will net new cellphone companies.
A number of recent studies have found Canada's internet and cellphone services to be poor by international standards.


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Tag: shattered sun
Watch the premiere of Shattered Sun's new music video for "Hollow Chains" on the Victory Records YouTube Channel. Metal Hammer proclaims The Evolution Of Anger is "A heady mix of blistering rage, immersive harmonies, and screaming fretwork. A killer evolution from a band as uplifting as they are brutal." Shattered Sun's second full-length album, The …
Shattered Sun's second full-length album, The Evolution Of Anger, will be released on July 21st, 2017. Watch the premiere of the first music video, "Burn It Down," now on Metal Hammer. Blabbermouth.net describes Shattered Sun as "a raining sensory overload" and New Noise asserts, "a perfect blend of metal and melody." Fans of old Metallica, …
Shattered Sun Join Testament and Exodus on US Tour
This April, Shattered Sun will be joining Testament and Exodus on the "Dark Roots Of Thrash II Tour" which includes a stop at the 2015 New England Metal and Hardcore Fest. View the dates and details. Shattered Sun's debut full length album, Hope Within Hatred, will be available on April 21st, 2015. Watch the lyric video for "Hope Within Hatred" now.
Victory Records Signs Shattered Sun
Victory Records has signed SHATTERED SUN from Alice, TX. Watch the lyric video for "Hope Within Hatred" now. SHATTERED SUN's debut full length album, Hope Within Hatred, will be released on April 21, 2015. Huge tour and festival dates for SHATTERED SUN will be announced very soon.


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Points Deductions and Pitch Invasions: The Fall and Rise Again of Spennymoor
There is usually a pitch invasion on these occasions and this was no different, the Brewery Field faithful in their traditional black and white attire were ecstatic, they could not believe it! It had been a long road back to the Premier Division of what is now known as the Evo-Stick League for Spennymoor, but not only had they made it back, here they were a year on having just gone one better!
It took eleven years after Spennymoor United were removed from the Unibond League as it was then known for the club - since reborn under the name Spennymoor Town - to find their way back to what is the third level of English non league football, and if their eventual return was the icing on a cake many years in the making, then promotion from the division at the first attempt was obviously the cherry on top.
I find myself at Spennymoor Town's Brewery Field home based in the town of Spennymoor, County Durham in what is former coal mining country. It is a cloudy overcast day with the sun just managing to peep through on occasion. After a brief dip in temperatures during what has been an unusually hot summer it suddenly feels warmer again and I later conclude that I have probably put too many layers on when I find myself stood on the terraces with the sun, albeit only briefly, pounding down on the back of my parka coat.
Today's opponents are FC United of Manchester, a club formed in 2005 by disgruntled Manchester United supporters who were unhappy at the Glazer family buying their club. Spennymoor are several games into their second season of National League North football after a first which saw them miss out of the play-offs thanks to the small matter of goal difference. Considering the club had been promoted via the play-offs in both of the previous two seasons, to miss out on another play-off campaign having come so close must have been thoroughly disappointing. Though when you consider their story and where they have come from, one hopes they were at least proud to have gotten so close.
The history of Spennymoor United predecessor to the current club dated back to 1904 and the club were for many years a prominent feature in North East non league football. Over the years the club was home to various players that would later go on to grace the Football League and the most prominent of these players was Johnny Dixon who captained Aston Villa to FA Cup final glory in 1957, whilst John Collins father of comedian Frank Skinner also performed in Spennymoor's black and white on the pitch here at the Brewery Field. Spennymoor were a successful club and alongside their various regional league and cup successes the club eighteen times reached the first round proper of the FA Cup, along with two second round appearances and a third round defeat at West Bromwich Albion in 1937. All that proud history however came to a rather sad end in 2005 for the then Unibond League Premier Division club.
United's problems had began on Christmas Day 2003 when their clubhouse which extraordinarily was uninsured burned down thanks to a discarded cigarette. This lost the club a large chunk of its regular income, and the financial problems that followed weren't helped when the clubs main backer and chairman Benny Mottram announced in early 2005 his intention to stand down. Disagreements with the council over the lease on their Brewery Field home, Mottram's arguments with supporters, and problems fulfilling fixtures didn't exactly improve matters either.
In March of that year the club found themselves without enough players available for a cup fixture and were eventually expelled from the competition. The game was to take place on a Sunday and according to Mottram among other reasons two of the clubs players were Catholic and were unavailable to play on religious grounds. The club continued with a depleted squad but in the league several games also did not take place and these were accompanied by fines and points deductions. Spennymoor were a club in crisis and manager Graham Clark had already walked out after a 5-1 Good Friday defeat at Gateshead. By April it was obvious Spennymoor would not be able to complete their fixture list and they were expunged from the league.
Arguments within the League over how the final 2004/05 table would look and how Spennymoor's fixtures both those completed and those not would fit into this raged on. But that did not concern the Spennymoor faithful, they just needed their team back. Plans by supporters to form a new club were put to one side when local Northern League team Evenwood Town, having various problems of their own, submitted plans for themselves to move into Spennymoor's Brewery Field ground. An independent Spennymoor fans group backed the Evenwood plans with the club set to be renamed Spennymoor Town (The FA twice blocked a name change to United).
The Brewery Field ground as it currently stands consists of a main seated stand on one side of the pitch with a marquee tent sat next to it, and another covered stand with newly installed seating behind the goal to it's right, whilst the other two sides consist of uncovered concrete terracing. In one corner there is mobile catering and bar facilities, and as I await kick-off I find their curry and chips a good hangover cure for the previous nights alcohol. I'm not drinking today but it's worth noting that aside from the limited bar facilities in the ground, the club also help run the Moors Tavern pub in town, an excellent choice for those who like a pre or post match tipple.
Today's opponents from Manchester started life in step 6 of the non league pyramid and have had to work their way up to where they are today, one division below non league's top tier. When Spennymoor Town came about they also had to start from the bottom and began life in the second division of the Northern League some three divisions below where the clubs predecessors had played during that ill fated final campaign.
Town gained promotion from Northern League Division Two at the second attempt, winning the league in 2006/07 with a record points total. The club stabilised themselves in the First Division before winning three titles in a row between 2009/10 and 2011/12, twice breaking the 100 point mark. Whilst having initial success in Division One the club did not apply for promotion (which until recently was not mandatory between steps 5 and 4) instead aiming to make the club self sufficient. In 2012/13 Spennymoor did eventually apply but missed out finishing behind a reformed Darlington side despite again breaking the 100 point mark. The following year the Moors were once again Champions and this time did secure promotion.
Alongside their Northern League successes, Spennymoor also had cup success in 2013 when they won the FA Vase at Wembley. The Moors chartered a flight to the Channel islands for the first leg of their semi final with Guernsey, taking players, backroom staff, officials, and supporters along to witness a 3-1 victory before a second leg at home in front of over 1700 people and a 1-0 victory that set up a Wembley final with Tunbridge Wells from the Kent League. During the build up to the final cup fever hit the town with shops selling merchandise and locals rushing to buy tickets for the big day. 5000 fans travelled down to Wembley from the North East and this included some 24 coaches being filled. Goals from Gavin Cogden and Keith Graydon secured a 2-1 victory and the Moors brought the cup back to the North East, much to the jubilation of the town.
Following promotion from the Northern League, league and cup success continued for Spennymoor. Another cup run in 2014 saw them make it into the draw for the first round proper of the FA Cup. Having beaten,Tadcaster Albion, Bishop Auckland, Dunston UTS, and Ashton United, the Moors faced then National League side AFC Telford United in the final qualifying round. An injury time Telford equaliser saw the Moors then lose a replay and miss out on what would have been a first round clash with Basingstoke Town. In the league Spennymoor took just two seasons to gain another promotion, leaving Division One of the Evo-Stick League via the play-offs, and then doing exactly the same the following year to gain promotion from the Evo-Stick Premier Division.
Given home advantage due to league placings, a Rob Ramshaw winner in front of 1699 fans sealed a second successive promotion, and place in the National League North, producing in the process that aforementioned pitch invasion. Having worked their way back from the brink, Spennymoor had a team that had surpassed all expectations and now found themselves well and truly into the higher echelons of non league football.
If anyone thought National League North might be a step too far then last seasons eighth place finish proved the doubters wrong, and as I stand on the terraces I see a team that looks at home in their surroundings, competent against their opponents, and seemingly having the better of the chances in the first half.
At half-time a man in the portakabin cum club shop that I find sat behind the terracing along one side the pitch tries to sell me a club branded mug, but I politely decline. The travelling support from Manchester were in full voice stood amongst the covered seating behind the goal during the first half and regain the same position for the second period, whilst most the vocal of the home support who had been stood next to them have now moved around to the other end of the pitch to which their team will attack for the second period.
The second half is mostly dominated by the home side and the terraces erupt when the Moors are awarded a penalty on 59 minutes. Sam Baird pulls back Glen Taylor who takes the resulting penalty and beats the keeper smashing the ball right down the middle. Spennymoor are in control now and double their lead with Ryan Hall crossing in for Adam Boyes to tap home late on.
It doesn't matter where you go in the country you will always find football fans desperate to get away from a match early and at Spennymoor it is no different, with some people heading towards the exits even before the second goal goes in. Those that do stay however get to see that second goal and probably head home unnerved by the idea that they may arrive at their destination a few minutes later than those early leavers.
The Spennymoor faithful will be pleased with a second win in three days that puts them comfortably into mid table after seven league games, and who knows, some may even be daring to dream of another promotion. I suppose yet another advancement would be a long shot, but given what they've achieved in recent seasons then anything is possible. Having been through hard times the Moors have returned stronger, and although its been a long road back it's certainly been an exciting journey, and a story that hopefully has many more thrilling chapters to come. Just no more discarded cigarettes please!
As featured in the December 2018 issue of Football Weekends magazine


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Issue: September 15, 2021
Darnell Hicks, falsely accused of shooting two cops in viral posts online, sues Facebook and Twitter
Sued for defamation and false light.
Facebook and Twitter have been sued in California Central District court by a Mr. Darnell Hicks, for not censoring posts that went viral and falsely named him as the gunman who shot two LA County police officers last year. Defendants are sued for "defamation" and "false light."
The 34-year-old father of two and youth football coach from Compton received death threats after he was falsely accused of the crime on social media.
The incident took place last September, outside of a Compton metro station. The deputies were inside a police cruiser when the suspect approached them and fired without warning. Both deputies were badly hurt and had to undergo surgery.
Video of the incident went viral online.
Following that, various users of social media platforms began to accuse Darnell Hicks of the attack.
Authorities later identified the suspect as 36-year-old Deonte Murray.
But prior to that, according to posts online, Darnell Hicks was falsely accused of being "armed and dangerous," as well as being described as being a "gang member," and that he was wanted for attempted murder in connection with the attempted murder of the two Los Angeles County deputies. Several identifying details were included in the posts, including Hicks' driver's license, license plate number and home address.
Hicks stated in a Facebook message after being falsely identified as the perpetrator on social media. "Don't feel safe at all, if I die y'all know what happen," read the message. He had initially just thought someone had done it as a prank.
According to Hicks' attorney, Brian Dunn, the false accusation couldn't get any worse, as his client has been "thrown into this pit for nothing other than the color of his skin."
"No one has taken responsibility," Dunn said in a statement.
In the complaint filed on September 13th, Hicks' lawyers describe the defendants, including Facebook and Twitter, as having known "the statements were false or had serious doubts about the truth of the statements, and acted with malice, oppression, or fraud."
The complaint continued, the "Defendants publicly disclosed information or material that showed Mr. Hicks in a false light" and that Hicks, "was harmed and sustained harm to his/ property, business."
The complaint calls for a jury trial and for damages in an amount to be proven at trial.
We obtained a copy of the complaint for you here.
In previous cases of this nature, social media platforms such as Facebook and Twitter have been protected by Section 230 of the Communications Decency Act that prevents platforms from being liable for most of the content their users post.
However, the lawsuit does also name the "REIGIONAL (sic) CRIME AWARENESS, PREVENTION & SAFETY GROUP" that posted false statements.


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Downey Public Transportation Accident Attorney
The different forms of public transportation that are available in and around the city play an important role in our society. They help millions of people to travel to and from their work place, they help people get to events and personal engagements and they offer this service to the public at an affordable price.
While public transportation may be a great resource to Southern California, it does occasionally cause some problems. When there is a public transportation accident, people get seriously hurt and some may even lose their lives. For the people that have been affected by these accidents, a Downey public transportation accident attorney can help them to recover financial compensation for their losses.
Who can file a claim?
The first thing to understand about personal injury law is that certain standards have to be met for the individual to have a legitimate claim. You obviously must have suffered some form of loss and that loss must be in some way connected to a public transportation accident. Further, you do not necessarily need to be a passenger of the public transportation carrier to have a valid claim in a public transportation injury lawsuit. The following are a few examples of people that may have a legitimate claim for a public transportation injury.
Passengers of the carrier
The occupants of other vehicles
Pedestrians that were injured in an accident
People that were injured at stations or pick-up areas
What makes these cases different?
A case that involves a public transportation accident can differ in many ways from many of the more common types of personal injury claims. To begin with, public transportation entities are governed by separate rules than other forms of transportation and the specific rules that apply can vary depending on a range of different factors. Is the carrier a government entity or a private business? Does the carrier travel out of state or is it local? Was the accident the cause of operator error or a malfunction in the vehicle itself? The answer to any one of these questions can have a serious impact on how the case is handled and what approach a personal injury lawyer should take in seeking compensation.
When you hire a public transportation accident lawyer, you need a professional that has a strong comprehension of the different laws that may apply and what all of these different factors will mean to the case.
Get a team that you can trust
The team at the Quirk Law Group takes public transportation claims very seriously. We understand that the results of these cases are not only very important for the individuals that have been affected, but also to the safety of every person that uses public transportation. Of course, getting compensation and protecting the rights of our clients is the top priority, but it is also important to make sure that these companies and government agencies are held responsible. Whether it is an injury on the MetroLink, a bus or in a taxicab, our Downey public transportation accident attorneys can help you get justice.


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The Working for Waders Raising Awareness and Sharing Best Practice Group met at Glen Prosen this week to see some of the work being undertaken to conserve waders on an upland hill farm and grouse moor.
Estate Manager Bruce Cooper (who is a joint chair of the sub-group) was on hand to talk visitors through the estate's management, particularly in relation to waders breeding in lambing fields and the significance of commercial forestry plantations.
The team at Glen Prosen has spent a lot of time thinking about how best to mitigate farming and forestry for the benefit of waders, and their success was obvious during a short walk along a farm track with oystercatchers, lapwings and curlews providing a constant backdrop of song. Lapwing chicks scuttled through the rushes, and common sandpipers called from the riverside on a gloriously warm June morning.
Representatives from SNH, RSPB Scotland, GWCT and the Heather Trust discussed the practicalities of habitat management, and there was a good turn-out from local gamekeepers, naturalists and land managers who all joined the discussion. Particular emphasis was placed on marking vulnerable nests in areas of agricultural activity, and visitors were able to draw on experience which seems to suggest that a single well-defined route around lambing fields allows the shepherd to minimize the risk of crushing eggs and disturbing chicks. This may be more applicable to some farms than others, but this turned into a useful discussion which demonstrated the value of sharing knowledge between partners.
Working for Waders is still in its infancy, but the initiative has great potential to make a real difference for wading birds.


J K Associates Incorporated is located at 301 N Main St in Ann Arbor and has been in the business of Human Resource Consulting Services since 2010.
J K Associates Inc is located at 301 N Main St, Ann Arbor, MI. This business specializes in Business Services.