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Seattle, A Book Lover's Town
March 11, 2008 in Books, Commerce, Community, Literature, Reading | Tags: beyond bookstores, book lovers, Seattle | Leave a comment
In many ways, Ms. Pearl's [author of Book Lust] rise in the book world parallels Seattle's rise in the publishing world. Though the big publishing houses are still ensconced in New York, the Seattle area is the home of Amazon, Starbucks and Costco, three companies that increasingly influence what America reads.
Books by relatively unknown or foreign authors become best sellers by dint of their anointment at the hands of Amazon editors. A forgotten older paperback, recommended and featured by the book buyer at Costco, can sell more copies in six weeks than it did in the last few years combined. Almost every book Starbucks stocks in its coffee shops sells more than 100,000 copies in its outlets alone. That pushes most Starbucks selections into the top 1 percent of all books sold that year, without counting sales in other types of stores.
The three companies settled in Seattle for different reasons, and each had its own motivation for choosing to sell books. Together, though, their combined power in the book industry has put the city in the position of tastemaker.
Each company, in its own way, "guides their customers, by selecting the books they will see," Ms. Pearl said. "New York may publish the books, but Seattle significantly defines America's reading list."
Industry trends suggest Seattle's influence will keep growing. More people are bypassing bookstores and buying at mass-market merchants, online retailers and specialty stores, says Albert N. Greco, a marketing professor at Fordham University's Graduate School of Business Administration.
In the last two years alone, sales of consumer books sold through such nontraditional outlets grew by more than $260 million, Professor Greco said. The presence of Costco, Amazon and Starbucks ensures that "Seattle will keep making an impact on what we read," he said.
When Kim Ricketts, founder of a book promotion company in Seattle, visited the big publishing houses in New York last month, she said she was repeatedly asked for advice on how to do business with the three Seattle heavyweights: "Publishers want to find the golden ticket — how to get their title beloved by one of these companies."
Seattle's literary seeds have been here for decades, with local authors, abundant writing courses and robust independent bookstores, according to J. A. Jance, the Seattle mystery author whose books have sold 15 million copies over the last 20 years. "Maybe it's the rain, but Seattle has always been a reading town," she said.
Over the last 10 years, the city has spent nearly $200 million to improve its libraries, including the new downtown showpiece designed by Rem Koolhaas and completed in 2004.
This love of books even seeps into the town's corporate cultures, says Ms. Ricketts, who 10 years ago started organizing author visits for employees at Microsoft, Starbucks and other companies in the area. "The authors were always shocked at how big the crowds were and how many books they sold," Ms. Ricketts remembers.
The town's enthusiasm for books may have made it easy to find well-qualified employees, but Amazon, Starbucks and Costco each occupy a different niche in the book world.
Starbucks started offering books to enhance the coffee-house experience, thinking that customers would enjoy spending more time in the shop if they had a provocative read and conversation starter to go along with their coffees and scones. They also hoped it would increase spending by each customer.
Starbucks sells just one title at a time, usually for a period of two to three months. The selections bear little resemblance to one another. Some have been almost unknown; others were already best sellers. The latest title, "Beautiful Boy," focuses on a father trying to help his drug-addicted son.
"We wanted to find extraordinary books that would encourage people to discuss compelling issues" like war, hope, faith and family, said Ken Lombard, president of Starbucks Entertainment…
Costco has become so successful at selling books that it has become a hot spot on the author book promotion circuit. Vicente Fox, the former president of Mexico, and Bill Clinton have signed books in Costco warehouses.
The flip side of the success of the big Seattle booksellers is the gradual decrease in the number of small independent stores, which have struggled as a result of a variety of factors…
Book lovers as well as writers miss the corner bookstore. But Americans are busy, and if they can pick up the latest book while they're stocking their pantry, sitting at their computer or going out for coffee, it saves them valuable time, said Brian Jud, author of "Beyond the Bookstore: How to Sell More Books Profitably to Non-Bookstore Markets."
They just may not realize that someone in Seattle helped them choose it.
Julie Bick


On 16 October 2018, a new Corporate Restructuring Promotion Act("CRPA") was promulgated, with immediate effect. The CRPA was first enacted in 2001 as a response to the Financial Crisis that began in 1997, causing hundreds of businesses in Korea to close down. Concerned that bankruptcies of larger companies may lead to bankruptcies of lender financial institutions, the CRPA was enacted as a temporary measure to facilitate speedy restructuring of larger businesses, while allowing the businesses to continue operation under supervision of creditor financial institutions. Since then, the CRPA had expired and was reenacted several times upon demand from interested parties for a more flexible but regulated out-of-court restructuring regime.
The latest CRPA enacted before the current CRPA ("2016 CRPA") expired as of 30 June 2018 amidst discussions in favor of and against permanent legislation regulating out-of-court restructuring. Since then, three different bills regarding a new & revised CRPA was submitted to the National Assembly, in addition to three other bills on CRPA that had been introduced before expiry of the 2016 CRPA. These bills were integrated and modified into a new bill which was introduced to the plenary session by the Legislation and Judiciary Committee. This new bill was passed by the National Assembly on 20 September 2018 and promulgated on 16 October 2018 with immediate effect.
According to the CRPA, during joint administration for MSMEs (Micro, Small and Medium Enterprises), the main creditor bank is required to review the performance of the normalization plan by the debtor company every quarter and disclose such results at least once a year. The new CRPA provides exceptions to this disclosure obligation by allowing the main creditor bank to choose not to disclose the results of the performance review, if (i) the information is (a) a business secret, or (b) there is a possibility that disclosure may lead to asset depreciation or otherwise hinder normalization of the company; or (ii) if the relevant MSME is not required to submit an annual business report under Article 159(1) of the Financial Investment Services and Capital Markets Act. Also with respect to the requirement for the main creditor bank to conduct an overall assessment of the joint administration procedure after 3 years from commencement of the procedure, the new CRPA allows some exceptions in case of MSMEs to conduct the assessment at a different time or decide not to disclose the results of the assessment subject to the non-disclosure requirements mentioned above.
With respect to the creditor financial institutions, their officers, and employees, the new CRPA now includes an "exemption of liability clause," stipulating that "When creditor financial institutions, their officers, and employees proactively perform their duties under the CRPA to restructure the company without intent or gross negligence, they shall be exempt from liability for the result thereof, under finance-related laws and regulations such as the CRPA, Board of Audit and Inspection Act, Banking Act, etc." The exemption does not apply, however, in cases where there are (i) violations of relevant laws and regulations; (ii) insufficient collection and/or review of necessary information; (iii) corruption; or (iv) personal interests.
The CRPA Enforcement Decree and the Regulation on Financial Institutions to Promote Corporate Restructuring, which would provide necessary details for law enforcement, have yet to take effect. However, the pre-announcements indicate that substantive changes will not be made to these secondary legislation.
Notably, the National Assembly added an opinion directed to the Financial Supervisory Committee ("FSC") to evaluate the corporate restructuring policies for their accomplishments and effectiveness, and after gathering the opinions of the court, relevant institutions and professionals, submit a report to the relevant standing committee within the National Assembly on the overall operation of the corporate restructuring policies, including whether the CRPA should be unified with the Debtor Rehabilitation and Bankruptcy Act or be converted to a separate permanent legislation. The FSC is required to prepare and submit this report before the end of term for the current National Assembly, which is in 2020.


Using the existing tree stump as the base structure for the tree house means you don't have so much work to do when building the tree house. So what if it is more a stump house than a tree one, it still looks cool!
For those of us, that really don't want to do much to hide their tree stumps comes this simple idea that uses the top bowl part off an old bird stand. Just place the stand on the stump and it is job done. Sure you could try to sand it down to make it flat, but maybe just use some blue-tac!
If you really want to live in the woodlands you might need a few bathroom facilities. It's not quite as strange as these toilets, but it is pretty odd.
Without too much work needed is this idea to turn an old wooden stump into an elf house. Sadly you can't go inside, but it still has an air of magic and wonderment about it. Just attach a door, room and you are done!
Temporarily covered in red felt, this art series called 'The Sacred Realm of the Forest Elf' was done by Finland artist Lea Turto. Given the forest full of green and brown colours, this red felt stands out very well indeed.
If that old tree you cut down still has a stump in a prominent place in the garden why not leave it there and turn the stump its self into a planter! It does require a fair bit of work but it seems worth it.
Made and designed by Ryan Meyer of The Wood Den in Crystal City is this stunning playhouse castle. With steps going around it, and a well on top it is just about as magical as any tree stump I have ever seen. Sure most of us are not going to have the skills to copy this, but it makes for some good eye candy.
OK, so most of us are not going to be able to pull this off, but for those of you with a flair for art and a handy chainsaw, it might well be the perfect solution. Made by Mark Acton these amazing stump sculptures are well worth a look.


What does automatic really mean?
Well, simply put, by automatic we mean less trouble, faster workflow, uncompromised results, more fun!
You don't have to mess with threshold adjustments or a bunch of unknown parameters to repair your audio, because ERA De-Clipper automatically detects clipping and tunes those parameters for you.
More specifically, De-Clipper's algorithm detects the clipped samples of your audio signal and after some calculations behind the scenes, decides the suitable amount of process and applies it on the signal, bringing it back to life.
Got it! But what's the best way to use De-Clipper?
1) on a clip based processing. Most DAWs or NLEs give the option to select a specific clip or an area of it, load De-Clipper, preview it and then De-Clip it! Easy right?
In this case, DeClipper will handle each sample differently and will apply the appropriate settings for each clip. You only have to select between Type I or Type II and make sure that High Quality is ON before the render to have the best results.
2) on a track based processing. In this case, you open a track with De-Clipper as an insert and then import all the clipped files in this track.
DeClipper will find the differences between each clip, even if they don't have the same level and during playback will automatically detect and repair the clipping points of each clip in the track.
Prefer to arrange the clips inside the track starting with the clip that has the lowest level to the clip with the highest one.
Due to the fact that it's very rare for a take to be clipped in different volume levels, De-Clipper detects the clipping level and assumes that any lower value is not clipped. That's why if you hit playback and have your clips in a similar order as shown in the image above, De-Clipper will not adapt its thresholds when passing from "Clipped_1" to "Clipped_2".
But even so, you can overcome this with a simple playhead jump to the desired clip.
In our example, the preferred sequence would be Clipped_2 / Clipped_3 /Clipped_1.


Whether you're on the buying end or the selling end of a real estate deal, there's a whole lot of money riding on the outcome. Listed here are a few common mistakes and how you might avoid making them yourself.
In all of my time working in the Guelph Real Estate industry, I've come across the same painful mistakes that people make again and again. A little research can help you to avoid making these costly mistakes.
Selecting an agent with whom you do not connect, or who is not committed to learning and meeting your needs.
You real estate agent will serve as your voice throughout much of the home search and sales process. Be careful to select an agent who genuinely cares about meeting your needs, and with whom you feel you can communicate well. A misunderstanding or disagreement at any point in the process - even after you've made the purchase - can be a source of some serious heartache and regret.
In today's market, heading to the bank or mortgage company to be pre-qualified should be one of your first steps when you start thinking about buying a home. The process is relatively painless, and can help you to get a realistic picture of what sort of home you can really afford. Pre-qualification signals to sellers and agents that you're ready to find your dream home, and that you have no interest in wasting time.
Misunderstanding the total price tag.
When hunting around for homes, ask your real estate agent to discuss closing costs with you - beyond a simple down-payment, there are often many costs, taxes, and fees that can creep up on you, totaling hundreds or even thousands of additional dollars. Earnest money, inspections, title insurance, and legal fees add up quickly, and should be a part of your planning process from the beginning. There's nothing more upsetting than having an offer accepted and finding that you can't pull the cash together to seal the deal.
Making your search too narrow.
By and large, every other consumer out there has access to the same publications, search engines, and bulletin boards that you do. Because of this, in many markets, homes that show up through these mediums will be snapped up before you even catch wind of them. A qualified real estate agent has access to listings the very moment they hit the market, and long before most consumers catch wind of them. Armed with your specific requirements, a good agent will make a quick connection, and have you opening the front door for a walk-through before other buyers even know about the property.
Believing in one PERFECT dream home.
Purchasing a home is not about soul-mates, nor is it about love at first site. Home buying is a process that involves a lot of careful consideration and a process of elimination. One week, you may not find something that meets you needs and budget in a neighborhood where you'd like to live. The next week, there may be three such homes on the market. Patience and careful thought are required to ensure success.
A home may be perfect for you now, but what if your family grows? Will the house still be perfect next year? How about in five or ten more years? Real estate is a long-term investment in your future, and purchasing a home is not something to be done lightly. Think ahead to ensure you won't be facing buyer's remorse down the road.
Failing to do your homework.
Looking at a home in the fall tells you little bout whether the basement floods, just as inspecting a house on a quiet weekday afternoon tells you little about the neighbor who works on his hot-rod all weekend, gunning the engine while you try to nap. How are the schools serving the neighborhood? Is there a safe place to learn to ride a bike? Is the house in a flood plane or evacuation zone? You need answers to these questions before proceeding with an offer to purchase. Don't be shy - walk right up to neighbors, knock on doors, take a look at local disaster plans. If you make an offer on a property, you want to do so with your eyes wide open.
Home inspectors make a good portion of their living doing pre-purchase inspections. You may feel that the money that they charge for the work would better serve you as part of the down-payment, but you'd be sorely mistaken. A home inspector brings a trained eye to the job - the kind of eye that can spot black mold at a hundred yards, and identify faulty plumbing in an instant. Skimping on your home inspection may seem like a money-saver, but will end up costing you a bundle in home repairs in the future.
The last thing you want to do when meeting with real estate agents, bankers, inspectors, and lawyers is to sit down with yet another person interested in taking your money. That said, discussing insurance premiums and coverage levels on a home prior to making a purchase will help you to put together a much clearer picture of your financial needs, and may point out a few risk factors that you never considered.
Opting against a home protection plan.
In the event that even your home inspector misses an important repair or issue with the home prior to your purchase, you can be left with huge repair bills for an unanticipated issue. A home protection plan, which you can arrange through your real estate agent or mortgage company, is a short-term insurance plan to hedge against just this sort of unforeseen issue - usually for a period of one year from closing. The premiums are low, and the benefits (should you need them) are priceless.
Christianne is a Guelph Real Estate Agent with HomeLife Realty Limited Brokerage. Everybody who knows Christianne knows that her professional focus has always centered around Customer Service Excellence. Contact her about any property that is in the MLS Guelph listings.


Ground or base covers are essential when creating a terrarium or arrangement. Known for its distinctive blue-green to grayish coloring, Blue Chalk Sticks are tall grass-type succulents that will grow in dense mats when allowed to spread. Also known as Blue Fingers and Blue Pickles. Like most succulents, they thrive in dry conditions, but Blue Chalk Sticks will grow faster with more water. If they grow too tall and get floppy, prune the tops to when the stem is firm. Succulent arrives in a 4" growers pot ready for potting.


Do you tweet at sporting events? Guilty of checking Twitter for the score during a meeting? Then we have some tweetwalls for you!
When Tweetwally launched almost 3 months ago, we didn't know what to expect. We thought it was a cool idea, and we knew we had uses for it, but would anyone else?
As with all new things, there should always be an introduction. Check out Tweetwally, Part 1 and keep an eye out for the sequel, coming soon!


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Greenspoon Marder Announces Further Expansion of Entertainment Law Practice Group With New Shareholder Kerry Smith in New York
News	Jan 9, 2017 New York, NY
NEW YORK – January 9, 2016 – Greenspoon Marder is pleased to announce that Kerry Smith has joined the firm as a shareholder. She will be the Team Chair of Greenspoon Marder's Entertainment Law Practice Group, Television and Film Group in New York, a crucial market for clients in the film, music, television and new media sectors.
Ms. Smith is regularly sought after in representing Emmy Award winning television production companies, including Don Mischer Productions, Done + Dusted, and Show Shop, who produce variety programming; news programs; talk formats; game shows; live events; television specials; and television awards shows. Ms. Smith has stewarded the production legal work on the Primetime Emmys, Billboard's Women In Music, The Kennedy Center Honors, Jazz at The White House, Super Bowl Halftime Shows, The Rock and Roll Hall of Fame, Taking The Stage: African American Music and Stories that changed America and The Tony Awards. She also represents individual writers, directors, producers and on-air talent within the industry.
"Kerry's decades of experience in television and film production will be invaluable to both our existing and future clients in the entertainment industry," comments Gerald Greenspoon, Co-Managing Director of Greenspoon Marder.
Leslie Jose Zigel, Chair of the Entertainment Law Practice Group confirmed that "Kerry's integration into the Entertainment Law Practice Group is a great synergistic complement to the firm's existing clients. Kerry's experience will be pivotal in guiding our creative and business clients into the new paradigm where traditional ways of doing business are quickly morphing into new and exciting opportunities."
Prior to obtaining her law degree, Ms. Smith was a television agent at Artists Agency in New York and later was the Director of Business Affairs at ABC Entertainment. Earlier in her career, Smith had her own Entertainment Law practice for nine years before joining Shukat Arrow Hafer Weber & Herbsman LLP as special counsel in 2010, to launch the firm's television and film practice group.
"We are excited to welcome Kerry to our growing New York office," says Michael Marder, Co-Managing Director of Greenspoon Marder. "New York continues to be an important market for our firm's clients across a variety of industries including entertainment, real estate, corporate and securities."

redpajama_set_name: RedPajamaCommonCrawl


The US fiscal negotiations are putting pressure on the muni bond markets.
ETF Trends: - The tax hoopla has depressed municipal bonds, with high-grade 10- and 30-year munis comparably yielding as much as taxable Treasury securities at 1.79% and 2.73%, respectively, writes Randall W. Forsyth for Barron's.
According to reports from trading desks, bids have become more scarce as a greater number of investors are sitting on the sidelines and waiting it out as the fiscal cliff goes down to the wire.
Congress has reportedly proposed levies on high-income investors in munis as part of of the deficit plan.
More pessimistic muni observers are wondering if taxes could be imposed retroactively on tax exempt securities. George Friedlander of Citi, though, believes this is a "pernicious concept" that could destroy confidence in the federal government's ability in the capital markets.
Fund flows into munis have slowed to a trickle.
Once again some zealous politicians who wish to "tax rich people" are simply going to transfer funds from municipalities to the federal government (in an inefficient manner).
ETF Trends: - Friedlander has also pointed out that if there were a limit to the value of tax-exemption on munis to up to a 28% cap, yields would rise 0.4% to 0.6%, which would devalue munis by $200 billion. Looking at the recent correction in muni ETFs, the potential tax hikes may have already been priced in.
Indeed the market has corrected from the peak reached at the end of November, as the chart for NY munis shows.
Ultimately whatever politicians decide to do, they need to get it done soon in order to return some certainty into this market. Otherwise they simply end up hurting municipalities around the nation who rely on this market for funding.


DarkWave Studio Free Download - we do not host any DarkWave Studio torrent files or links of DarkWave Studio on rapidshare.com, depositfiles.com, megaupload.com etc. All DarkWave Studio download links are direct DarkWave Studio download from publisher site or their selected mirrors.
5.8.0 Feb 7, 2019 Major Update Updated installer with new code signing certificate.
5.7.9 Jan 3, 2019 Major Update Updated installer with new code signing certificate.
5.7.7 Aug 15, 2018 Major Update Updated installer with new code signing certificate.


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2 Also the fountains of the deep and the floodgates of the sky were closed, and the rain from the sky was restrained; 3 and the water receded steadily from the earth, and at the end of 150 days the water decreased. 4 Then in the seventh month, on the seventeenth day of the month, the ark rested upon the mountains of Ararat. 5 And the water decreased steadily until the tenth month; in the tenth month, on the first day of the month, the tops of the mountains became visible.
6 Then it came about at the end of forty days, that Noah opened the window of the ark which he had made; 7 and he sent out a raven, and it flew here and there until the water was dried up from the earth. 8 Then he sent out a dove, to see if the water was low on the surface of the land; 9 but the dove found no resting place for the sole of its foot, so it returned to him in the ark, for the water was on the surface of all the earth. Then he put out his hand and took it, and brought it into the ark to himself. 10 So he waited another seven days longer; and again he sent out the dove from the ark. 11 And the dove came to him in the evening, and behold, in its beak was a fresh olive leaf. So Noah knew that the water was low on the earth. 12 Then he waited another seven days longer, and sent out the dove; but it did not return to him again.
13 Now it came about in the six hundred and first year, in the first month, on the first of the month, that the water was dried up from the earth. Then Noah removed the covering of the ark, and looked, and behold, the surface of the ground had dried up. 14 And in the second month, on the twenty-seventh day of the month, the earth was dry.
2 The fountains also of the deep and the windows of heaven were stopped, and the rain from heaven was restrained; 3 And the waters returned from off the earth continually: and after the end of the hundred and fifty days the waters were abated.
4 And the ark rested in the seventh month, on the seventeenth day of the month, upon the mountains of Ararat. 5 And the waters decreased continually until the tenth month: in the tenth month, on the first day of the month, were the tops of the mountains seen.
6 And it came to pass at the end of forty days, that Noah opened the window of the ark which he had made: 7 And he sent forth a raven, which went forth to and fro, until the waters were dried up from off the earth. 8 Also he sent forth a dove from him, to see if the waters were abated from off the face of the ground; 9 But the dove found no rest for the sole of her foot, and she returned unto him into the ark, for the waters were on the face of the whole earth: then he put forth his hand, and took her, and pulled her in unto him into the ark. 10 And he stayed yet other seven days; and again he sent forth the dove out of the ark; 11 And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off: so Noah knew that the waters were abated from off the earth. 12 And he stayed yet other seven days; and sent forth the dove; which returned not again unto him any more.
13 And it came to pass in the six hundredth and first year, in the first month, the first day of the month, the waters were dried up from off the earth: and Noah removed the covering of the ark, and looked, and, behold, the face of the ground was dry. 14 And in the second month, on the seven and twentieth day of the month, was the earth dried.
2 The sources of the watery depths and the floodgates of the sky were closed, and the rain from the sky stopped. 3 The water steadily receded from the earth, and by the end of 150 days the water had decreased significantly. 4 The ark came to rest in the seventh month, on the seventeenth day of the month, on the mountains of Ararat.
5 The water continued to recede until the tenth month; in the tenth month, on the first day of the month, the tops of the mountains were visible. 6 After forty days Noah opened the window of the ark that he had made, 7 and he sent out a raven. It went back and forth until the water had dried up from the earth. 8 Then he sent out a dove to see whether the water on the earth's surface had gone down, 9 but the dove found no resting place for its foot. It returned to him in the ark because water covered the surface of the whole earth. He reached out and brought it into the ark to himself. 10 So Noah waited seven more days and sent out the dove from the ark again. 11 When the dove came to him at evening, there was a plucked olive leaf in its beak. So Noah knew that the water on the earth's surface had gone down. 12 After he had waited another seven days, he sent out the dove, but it did not return to him again. 13 In the six hundred first year, in the first month, on the first day of the month, the water that had covered the earth was dried up. Then Noah removed the ark's cover and saw that the surface of the ground was drying. 14 By the twenty-seventh day of the second month, the earth was dry.
2 The underground waters stopped flowing, and the torrential rains from the sky were stopped. 3 So the floodwaters gradually receded from the earth. After 150 days, 4 exactly five months from the time the flood began, the boat came to rest on the mountains of Ararat. 5 Two and a half months later, as the waters continued to go down, other mountain peaks became visible.
6 After another forty days, Noah opened the window he had made in the boat 7 and released a raven. The bird flew back and forth until the floodwaters on the earth had dried up. 8 He also released a dove to see if the water had receded and it could find dry ground. 9 But the dove could find no place to land because the water still covered the ground. So it returned to the boat, and Noah held out his hand and drew the dove back inside. 10 After waiting another seven days, Noah released the dove again. 11 This time the dove returned to him in the evening with a fresh olive leaf in its beak. Then Noah knew that the floodwaters were almost gone. 12 He waited another seven days and then released the dove again. This time it did not come back.
13 Noah was now 601 years old. On the first day of the new year, ten and a half months after the flood began, the floodwaters had almost dried up from the earth. Noah lifted back the covering of the boat and saw that the surface of the ground was drying. 14 Two more months went by, and at last the earth was dry!
2 The fountains of the deep and the windows of the heavens were closed, the rain from the heavens was restrained, 3 and the waters receded from the earth continually. At the end of 150 days the waters had abated, 4 and in the seventh month, on the seventeenth day of the month, the ark came to rest on the mountains of Ararat. 5 And the waters continued to abate until the tenth month; in the tenth month, on the first day of the month, the tops of the mountains were seen.
6 At the end of forty days Noah opened the window of the ark that he had made 7 and sent forth a raven. It went to and fro until the waters were dried up from the earth. 8 Then he sent forth a dove from him, to see if the waters had subsided from the face of the ground. 9 But the dove found no place to set her foot, and she returned to him to the ark, for the waters were still on the face of the whole earth. So he put out his hand and took her and brought her into the ark with him. 10 He waited another seven days, and again he sent forth the dove out of the ark. 11 And the dove came back to him in the evening, and behold, in her mouth was a freshly plucked olive leaf. So Noah knew that the waters had subsided from the earth. 12 Then he waited another seven days and sent forth the dove, and she did not return to him anymore.
13 In the six hundred and first year, in the first month, the first day of the month, the waters were dried from off the earth. And Noah removed the covering of the ark and looked, and behold, the face of the ground was dry. 14 In the second month, on the twenty-seventh day of the month, the earth had dried out.
2 Now the springs of the deep and the floodgates of the heavens had been closed, and the rain had stopped falling from the sky. 3 The water receded steadily from the earth. At the end of the hundred and fifty days the water had gone down, 4 and on the seventeenth day of the seventh month the ark came to rest on the mountains of Ararat. 5 The waters continued to recede until the tenth month, and on the first day of the tenth month the tops of the mountains became visible.
6 After forty days Noah opened a window he had made in the ark 7 and sent out a raven, and it kept flying back and forth until the water had dried up from the earth. 8 Then he sent out a dove to see if the water had receded from the surface of the ground. 9 But the dove could find nowhere to perch because there was water over all the surface of the earth; so it returned to Noah in the ark. He reached out his hand and took the dove and brought it back to himself in the ark. 10 He waited seven more days and again sent out the dove from the ark. 11 When the dove returned to him in the evening, there in its beak was a freshly plucked olive leaf! Then Noah knew that the water had receded from the earth. 12 He waited seven more days and sent the dove out again, but this time it did not return to him.
13 By the first day of the first month of Noah's six hundred and first year, the water had dried up from the earth. Noah then removed the covering from the ark and saw that the surface of the ground was dry. 14 By the twenty-seventh day of the second month the earth was completely dry.


Nice phone , had it for 2 years.
how to open front camera this phone kindly tell me how to use and where front camera option .
Ik want to buy a new one of this why aren't they make one of this any more?
same, i use this pone till now since 2008, it's 5 years!
Hi, i can't send and receive calls and text with this phone, there is a "3G" under the signal, what am i supposed to do? how can i restore my phone? i don't know the lock code.
Peter, 22 Jul 2011Up to how many gigabyte capacity of this phone i550? not gegabyte capecety. It has 150 MB internal memory capecity.k.
Deepak, 15 Nov 2011Hi iam deepak, i had to format my memory card for some reasons and now the inbuilt navigation ... moreinstal garmin 4.10.80 with maps.Look up on Google for it.
mofeed, 02 Dec 2011can i use voip services on my samsung sgh-i550w Yes, if you have the jar installer of the VoIP service you want to use.
i want 2 delet same of the file in my phone becouse the memory is ful.
Total of 1134 user reviews and opinions for Samsung i550.


Philippians 3:20: But our citizenship is in heaven. And we eagerly await a Savior from there, the Lord Jesus Christ.
According to the Bible, remarriage and homosexuality are both sins, but they don't seem to get equal treatment from most pastors and Christians. This article is intended to explore this strange disparity and is based on the Christian Bible. If you have a problem with what's stated in this article, then you probably aren't someone who adheres to the Bible. That, however, is beside the point. This article seeks to highlight a flawed argument among many pastors in the context of the Christian Bible rather than to argue morality.
Most pastors who are against gay marriage attribute their feelings to a belief that it destroys the family unit, and therefore the very fabric of society itself. These feelings are arguably logical when one considers that pastors seek to follow the Bible, which states that homosexuality is a sin. In most cases, however, that is where adherence to logic begins to unravel. These same pastors and others who claim to be Christian say little to nothing against divorce. This occurs even though the Bible states that, except in cases of adultery, divorce and remarriage is also a sin. In light of studies regarding children from broken and single-parent homes, I think it's fair to say that with very few exceptions two-parent homes are the ideal foundations of a healthy society. As such, it could be argued that anything that breaks up a two-parent home destroys families and therefore has the potential to destroy society as well.
If the fight against gay marriage is supposed to be about protecting families and the sanctity of marriage, then why don't pastors and churchgoers who decry gay marriage speak out against divorce, the primary destroyer of marriage? To decry one while sanctioning or at the very least ignoring the other is utterly illogical.
Yet another scripturally based argument made by pastors is that God first created man and woman to be together, and did not intend for two men or two women to be together. Pastors rarely say that God intended said man and woman to stay together forever. This is quite baffling when one considers that, according to the Bible, Jesus stated that marriage was never intended to be something that could be annulled or broken.
There are a variety of other examples within the Bible where divorce is referenced, such as Malachi 2:16 where God says, "I hate divorce" through the prophet Malachi. Of course, the Bible does not gloss over homosexuality, and there are just as many scriptures that refer to homosexuality as a sin as there are those that call divorce and remarriage a sin.
In the book of Romans, Paul writes about how some men and women were given over to vile affections due to their rebellion and lack of reverence for God. He states that, "For this cause God gave them up unto vile affections: for even their women did change the natural use into that which is against nature: And likewise also the men, leaving the natural use of the woman, burned in their lust one toward another; men with men working that which is unseemly, and receiving in themselves that recompense of their error which was meet." This is one of several instances in which Bible states that homosexuality is an immoral affection.
Yes, homosexuality is a sin from a biblical perspective, and it makes sense that any pastor who adheres to the Bible would define it as such. Even so, I fail to understand how a pastor concerned about protecting the sanctity of marriage can speak against homosexuality without speaking against divorce and remarriage. Is such a pastor genuinely concerned about the sanctity of marriage? After all, how could you claim to hold something sacred yet selectively ignore that which literally destroys it? The purpose of divorce, after all, is to break marriages.
Divorce and remarriage are the greatest threats to the American family and have done more damage to them than anything else. Despite this, most pastors do not even begin to discuss what the Bible says about divorce. Stranger still, the few who do discuss it often manipulate the text in order to justify divorce.
If pastors were as militant about divorce as they are about homosexuality, it's easy to conclude that many troubled marriages would be restored rather than broken by divorce. Many people would feel that, based on their commitment to God, divorce isn't an option. As a result, they would become a lot less stubborn towards their spouses and make a greater effort to work out their problems.
Where are the Christian citizens who protest "Christian" judges who weekly grant divorces? There are many judges who, because of there "faith," will not marry a gay couple, but yet will divorce the same straight couple whom they married. Each and every Friday in my city divorces are carried out for irreconcilable differences, and I have yet seen or heard news of one person picketing. The U.S. government is a part of the world system (rather, is the world system), and not Christianity. If it is about following the Bible, you should cut ties with that world system rather than cherry pick biblical offenses. (Philippians 3:20: But our citizenship is in heaven. And we eagerly await a Savior from there, the Lord Jesus Christ. 1 John 2:15 Do not love the world or anything in the world. If anyone loves the world, love for the Father is not in them.) Therefore, if you really are so adherent to your faith, you would love the fact that Church and State are separate entities.
It can be easily argued that pastors who ignore some sins while decrying others are hypocritical are not even bothering to follow the Bible, creating a series of logical fallacies and hypocrisy. Worse yet, pastors that do not warn against divorce or preach biblical teachings that could save many marriages and families could be considered as contributing to the deterioration of family units and society itself. How can those who claim such reverence for the sanctity of marriage and who supposedly support family values contribute so heavily to their destruction?
Why do pastors focus so much on crusading against the LGBT Community while saying absolutely nothing to the members of their congregation regarding divorce? The fact that they can say homosexuality destroys marriage while ignoring something that is designed for the sole purpose of breaking up marriages is quite baffling. How can they look at their congregation and claim concern over the sanctity of marriage without ever bothering to mention Jesus' assertion that "…. anyone who divorces his wife, except for sexual immorality, and marries another woman commits adultery"?
Well, the answers are as simple as they are mindboggling. Pastors are terrified to discuss Jesus' teachings on divorce because of how common divorce and remarriage for "irreconcilable differences" have become in the church. That is quite ironic. God reconciling men and women with one another is the very foundation of Christianity, yet somehow spouses break the supposed sanctity of marriage because they can't get along.
The primary reason pastors rail against homosexuality (which Jesus never mentioned) while ignoring what he stated regarding divorce is the fear of alienating members who are, as the term goes "living in sin". There's no bravery required in alienating homosexuals because there are statistically far fewer homosexuals than divorced and remarried people. That is often especially so in a church setting.
The secondary reason is money. Money is one of the most important concerns for many, if not most, pastors. Modern churches are businesses to varying degrees, some significantly more so than others. Money-oriented pastors create sermons that will attract new members and retain current ones, which translates into a steady stream of tithes and donations that continually grow. If they were to preach against divorce, they would lose members ergo money.
As such, it is fair to say pastors who ignore the words of Jesus while shouting the words of Paul from the rooftops are more concerned with revenue and their sense of security than they are about families.
1 Comment on "The Truth Behind What The Bible Says About Gay Marriage"
The author makes a valid point about Divorce and other sins in the bible, but at least in a divorce case, There is at least a justification in some cases, whereas in Gay Marriage, there are no examples of justification. It is clear that it is an abomination before God under any circumstances. It is not the homosexuals that Brothers and Sisters in Christ disapprove of, but the diminishing of the institution of marriage itself, which is a holy covenant between a man and a woman and God. Why a man and a Woman? Because how can the Church ask God to bless behavior which he himself say's is an abomination? You are asking God to reverse his own position. Other Brothers and Sisters in Christ sin as much as anyone else. The difference is that they are not collectively organizing a movement for the church to bless their sins, and persecute anyone who speaks out against it. God destroyed the world in Noah's time for sexual immorality. He destroyed the twin cities of Sodom and Gomorrah over the same issue. This makes Gods position clear. He does not like it. So if we know that God does not like something, are we going to ask the church to bless something which God hates? Many are suggesting the church should find some "Middle Ground" which satisfies both sides of the issue. If the church were to do this, it would create a "Luke Warm" church, which Jesus said he would "Spit Out Of his Mouth". Gay marriage activism also lays "Stumbling Blocks". We also know Gods position on this especially, when it comes to the "Little Ones". Those who study Prophecy in depth also know that this forced acceptance of the abominations and the persecution of those who refuse are in part the "Mark of The Beast". We are already seeing many examples of people losing their jobs, therefore their livelihoods and ability to support their families being taken away from them and others being sued and penalized by the government for refusing to accept this "Mark". These things are all prophesied in the Book of Revelation of Jesus Christ.


A state grant will allow the Sheriff's Department to reinstate a full-time deputy position for rural crime prevention. The grant, from the state Office of Emergency Services, is specific to that cause. The sheriff's office had a dedicated rural crimes deputy beginning in 2007-2008, but the position was cut this fiscal year when the state indicated the grant was to be discontinued, and the sheriff had to reduce his staff.


The banners from Kurt Flekenstein's installment remain in the courtyard at the Pushkinskaya-10 Art Center proclaiming that "Freedom is Space for the Spirit." From the author's collection.
One must really have the desire to find the Pushkinskaya-10 Art Center if they are to visit it. Located in an otherwise inconspicuous courtyard off Ligovsky Prospect, it hides tucked behind the bright signs surrounding the Moskovsky railway station in downtown St. Petersburg, just a bit more visible than when its entrance was located around the corner on Pushkinskaya Street. This particular art center has not received much attention from academics or journalists, and the residents of the center do not make it easy for visitors to navigate, either, offering an overwhelming variety of galleries and points of interest to visit. In short, the Pushkinskaya-10 Art Center is not for the faint of heart, yet as an art space, it reveals some of the secrets that were hidden about art during the soviet era, and serves to remind us of the necessity of physical space in the creative process for artists.
Although the Puskinskaya-10 Art Center is a point of interest in St. Petersburg it is not one that is accessible to all, physically or intellectually. In an interview I held with the art center's co-founder, Sergey Kovalsky, he emphasized that, although the site appears in some guidebooks and site-seeing pamphlets, the space is not entirely public, and is not easily understood by the average tourist. Unlike the works in the endless galleries of the Hermitage or the Russian Museum, the pieces created in secret by unofficial artists require a special understanding of the era and movements to truly grasp their significance. Pushkinskaya-10 simultaneously tells its own story of unofficial art and represents the many nonconformist art movements of the twentieth century, both successful and unsuccessful, that expressed discontent with the soviet system through artistic media. In the years since its establishment at the same time of the Soviet Union's dissolution, the site has served as a home to artists both young and old, as an archive of "dissident," "forbidden," "nonconformist," and "unofficial" art, and as a tribute to the legacy of unconventional art in twentieth century St. Petersburg. This chapter in Russia's art history is significant because the art remains controversial, even twenty years after the dissolution of the soviet regime.
Monika Bernotas also created a video documentary based on her research. Watch it above.
Despite the fact that the Soviet Union has long since dissolved, official and unofficial art remain distinguishable and some works are prevented from being displayed publicly. For this reason, the Pushkinskaya-10 Art Center exists as a testament to the emergence of successful sustentation of unofficial art from the Soviet Union to today, by giving aspiring and established artists a space in which to create and share their work with one another and with the public. Further study of this art cooperative allows us to observe how the operations of the center have changed, and understand the connection between Russia's current art culture and the alternative art culture of the late soviet era.
Russia has a long history of restrictive measures taken to limit artistic production, dating through both the czarist and soviet time periods. Strict limitations were placed on artists, preventing them from creating and displaying works that did not conform to the accepted method, and artists who refused to comply were sentenced to exile and, in some cases, death. The soviet era, in particular, created an uncomfortable environment for artists. In 1932 the soviet leadership adopted socialist realism as the official method of soviet art. Any creative product was subject to the limitations of this method, including plays, films, books, sculpture, and all fine arts. Socialist realism not only sought to glorify the virtues of soviet collective labor, but also, simultaneously denounced the evils of capitalist culture. In literature and cinema, socialist realism manifested itself in stories, for instance, in which a socialist mentor guides a spontaneous youth to recognize the errors of his ways, and glorify the ideals of socialism.
In visual arts, realism employed techniques that attempted to capture images of pride in the soviet way of life, while actually idealizing the images, and subsequently used them in propaganda and every aspect of illustrated life from children's stories to cookbooks. All artistic production, notably the many portraits of party leaders like Stalin and Lenin, was commissioned and required to conform to the socialist realist aesthetic method. Additionally, sculptures and monuments in the socialist realist style took up physical space in the cities of the Soviet Union, giving mass and volume to the regime's doctrine, making soviet socialist realism truly ever-present in the lives of the urban citizens. In this way, the soviet elite attempted to permeate the lives of the citizens with socialist ideology in their physical surroundings, and allowing no space to be private. An example of this is Vera Mukhina's statue in Moscow, The Worker and the Kolkhoz Woman. The statue, originally constructed for the 1937 Paris World Fair, now towers nearly 200 feet above VDNKh, a popular park and exhibition center in northern Moscow. The statue also became the iconic logo of the major soviet film company, MosFilm, and was shown at the start of the majority of films seen in the Soviet Union. Despite the encompassing nature of socialist realist art, the actual tenets were never documented in a way that made them easy to follow. For that reason, artists were often unclear of their compliance with the rules.
Due to the lack of clarity in the official method, many artists continued to create in their own style, risking becoming targets of official persecution. Fortunately, artists were seldom persecuted for their art alone; rather, art was banned not due it's content, but because its author had associated with dissidents, had expressed dissent, or had fallen foul of an influential official. Despite these limitations, artists continued to create art of their own, outside the official method. When the implementation of socialist realism began in the early 1930s many artists continued to create in the avant-garde style, disregarding the official method of the Soviet Union. These artists were forced to work on their unofficial art as privately as they could with their own resources while simultaneously paying the bills by working as official book-illustrators or in other occupations.
Working as a book illustrator was a particularly convenient occupation, because it gave the artist access to materials that were not widely available. Those who worked outside of the art industry had difficultly obtaining supplies to create their works if they were not associated with an official art guild. Furthermore, without official recognition, they had no access to space in which to create or display their work. Unless they were associated or connected with such art guilds, they were severely limited in time and resources, and, most importantly, private studio space in which to create. Without space, they would find it difficult to create, let alone hide, the art with which they confronted the state-imposed limitations.
Artists who were not included in official art guilds craved connections with other artists, for the purpose of sharing their work and circumventing the state. For that reason, they established some of the most important unofficial networks in St. Petersburg in the 1970s and 80s, specifically, the Brotherhood of Experimental Exhibitions and the Brotherhood of Experimental Exhibitions, established in 1975 and 1981, respectively, and which later consolidated to form the organization behind Pushkinskaya-10. Such organizations were established outside of the official unions and guilds of soviet artists, meaning that they did not reap any state benefits available to official organizations, and had to conduct their operations as privately as possible. Such secret organizations were not regulated by the state, and, therefore, not tolerated.
The author standing outside the Zimmerli Art Musem at Rutgers University, the home of the Norton Dodge Collection of Nonconformist Art. From the author's collection.
Operating in secret and acknowledging the risks at hand, the members of these brotherhoods benefited from networking with their fellow-dissidents and used them as an outlet to share their work in secret apartment exhibitions. It was also through these networks that artists made contact with international art collectors and dealers, whom they incorporated into their unofficial syndicate. One such collector was Norton Dodge, whose collection of nonconformist soviet art can now be seen at the Zimmerli Museum at Rutgers University. His collection was built up over the course of ten visits to the Soviet Union from the 1970s through Perestroika, and includes works by artists, such as Ilya Kabakov, Vitaly Komar, and Alex Melamid, who have, through his efforts, become some of the most widely-recognized and prosperous unofficial Russian artists. Those who were targeted by soviet authorities became recognized in the west not only as artists, but also as dissidents against the soviet regime through these private outlets to the west.
Furthermore, it was out of these unofficial organizations that unofficial exhibitions began to emerge in secret, and then in public. Art served as both a type of therapy and an act of dissent for these artists, whether or not the subjects of their art were explicitly anti-soviet. For example, the art of Boris Koshelokhov, which draws greatly from early 20th Century Russian avant-garde and fauvism, depicts many natural and neutral themes. Because his art strayed from the tenets of socialist realism, he was tagged as a nonconformist, and the authorities kept a close watch on him. By working as a janitor, keeping his nonconformist art to apparently neutral themes, and maintaining discreet relationships with compatriot artists in the Society for Experimental Exhibitions he was able to avoid arrest. He lives and thrives today in the Art Center at Pushkinskaya-10 and is a well-respected artist of the, ironic, nonconformist brand.
In 1989, at the height of Gorbachev's Perestroika, the members of these organizations, realizing their need for a space of their own, joined their forces to create the Free Culture Society and moved into the house at Pushkinskaya-10 in Leningrad. In a personal interview, Sergey Kovalsky, the founder of the space, told of the day he recognized the abandoned building at that address as a potential home for all the artists who did not have their own spaces to create, much like the establishment of the SoHo district of New York. Walking with a small group of artist-friends, he described their need for a home, and pointed out the crumbling building as something that would work just as well as any other building; however, its location on Pushkinskaya Street made it particularly ideal, since "Pushkin is [our/Russia's] everything." The building had been condemned and was in a queue for remodeling by city. When Kovalsky approached the authorities to say he would take the building as it was, they were obliged to give it to him to avoid the costs of renovation, especially as the soviet state crumbled.
The building, dubbed the Pushkinskaya-10 Art Center, managed by the Free Culture Society, has been operating as an art cooperative since the dissolution of the Soviet Union. Aside from apartment and studio spaces for over thirty artists, the center boasts approximately ten museums and galleries, as well as studios for performance art, a shrine to the Beatles (who were influential for all generations of soviet dissidents) two cafés and a record store. The space serves as a creative home for musicians, filmmakers, photographers, and, of course, the painters and sculptors who established it. Now, the artists refer to the Art Center as "an island of communism," as its operation and maintenance are taken on with a collective attitude. In fact, the artists and residents still consider themselves "nonconformists," despite the fact that the Soviet Union has long since dissolved and the term as it was once used has lost its meaning. The term was once used to describe dissidence to the soviet state alone; now it expresses their resistance to conforming to the ideals of mainstream cultural values in general. Thus, when the government ceased to be socialist, the artists at Pushkinskaya-10 continued their rebellious streak, some even reverting to socialist values.
Sergey Kovalsky describes the Parallelosphere philosophy with the help of a three dimensional manifestation. Still frame from the author's interview.
Kovalsky, the center's co-founder, has a unique view of the world, describing it as a "Parallelosphere." The concept, although difficult to understand at first, makes a certain degree of sense, geometrically and philosophically speaking. While we, as human beings, live on the sphere of the earth, we consistently find parallels between our creator, ourselves, and that which we create. His goal is to expand the Parallelosphere to include all of mankind through cultural parallelism throughout the world, which is, in essence, the mission of Pushkinskaya-10.
One of the many unique things about the center is the varied integration of public and private spaces together. While each resident artist has his own space to use for living and creating, the exhibition space spills out into shared areas, including hallways, stairwells, elevators, walls and ceilings. Visitors are welcome to participate in the creation by adding to graffitied areas while, in most cases, respecting that which has already been created. Some residents of St. Petersburg, who come to visit the center, say that they like the idea of the space particularly because of its accessibility.
The art center has been constantly working towards several goals ever since its establishment; one of the most important being to integrate Russian contemporary art to the new world culture. To do this, the art center brings in foreign exhibitions, and displays work of their own abroad. One such collection brought to the center was that of a German artist, Kurt Flekenstein, whose exhibition featured an installation that describes the center's operation: "Freedom is Space for the Spirit." A banner with this slogan now hangs in one of the courtyards in the Art Center. The quote, which has blended into the backdrop of the courtyard for many of the residents, still has some resilience. Kovalsky relates to the quotation, and, in an interview, told me that without space in which to act, the spirit can do nothing, and that freedom has potential in all spaces. Once the artists could do what they liked with in space, they had the freedom to open up to the world and create beyond their previous limitations.
Along with bringing foreign artists to Russia, the art center's residents look for opportunities to share their creations outside of their own space in a way that was difficult during the soviet era. Of course, before the 1990s, their only public outlet had been in small apartment exhibitions or abroad with the help of foreign collectors and artists, like aforementioned Norton Dodge. In the post-soviet era, the artists associated with the Free Culture Society share their work in public exhibitions in Russia, where they were previously restricted from displaying. One exhibition of note, called "St. Petersburg Free Culture in Museums of Russia," made a 2011 tour of the cities of Russia, before arriving home to St. Petersburg in July of that year. Both during the soviet era, and in the years since nonconformist artists who would become the founders of Pushkinskaya-10 wanted to exhibit their work in the Peter and Paul Fortress, but were thwarted by the authorities. After years of planning and bargaining with authorities this travelling exhibition has made its final stop in the Peter and Paul Fortress's Nevsky Gate Gallery, bringing its journey full circle, both around the country, and in time.
The significance of such an exhibition, taking place in the cradle of St. Petersburg, was not unintentional. For the artists of the Society of Free Culture, finally displaying their work in this space shows St. Petersburg's, and Russia's, acceptance of the work they did illegally during the soviet reign. The nonconformist art movement began in 1976 when one of the underground artists, Yuli Rybakov, painted on the walls of the fortress: "You may crucify freedom, but the human soul knows no shackles." Rybakov was convicted and sentenced to six years of prison for his artistic and political performance. The Pushkinskaya-10 art community views Rybakov's artistic act as one of the stories of the origin of their movement. Thus, the exhibition inside the fortress, where Rybakov's and other artists' works are displayed, has a special significance for the art center community. Although the artists are still considered obscure and limited in many of their exhibitions, there is no question of their gaining significance in the larger scope of the history of art in Russia today.
Russia's capital, Moscow, always had an aggressive and assertive artistic community during the soviet era, where authorities often broke up exhibitions they held in apartments and public squares. Conversely, the St. Petersburg artistic community was more discreet and structured, leaving much of their work to be discovered only now, in the period after the soviet reign. As attention on the nonconformist art movement grows, the future of the Pushkinskaya-10 Art Center remains to be seen. The resident artist population is aging, and the funds to support the institution are running low. The Society of Free Culture, which runs the Art Center's space, puts a great deal of effort into maintaining their stance that art should be free. For this reason, the art center functions almost entirely on donations and grants, while admission to the museums and galleries remain free of charge, despite the fact that maintaining such an institution in downtown St. Petersburg is costly.
Furthermore, keeping in mind the lofty cultural confidence of St. Petersburg, Russia's "cultural capital," new galleries and projects are constantly appearing, supporting artists in their endeavors to create. The Novyi Muzey, located on Vasilievsky Island, boasts a collection of avant-garde art, ranging from the early 20th century to the present, giving a brief overview of Russia's avant-garde history in a noticeably less confusing exhibition space. Additionally, a few blocks down Ligovsky Prospect from the Pushkinskaya-10 Art Center, the Loft Project Etagi is establishing a similar project, targeting a younger population and emphasizing its accessibility, and even offers meeting halls, a hostel, and rentable exhibition space. Pushkinskaya-10 was established as a space for artists to live and create, but has become an exhibition of their era. Competing with young, organized, and technologically-savvy institutions with similar areas of interest, the question now is whether or not the Pushkinskaya-10 Art Center will be able to survive in the future of Russian art.
Some of the resident artists are reluctant to answer this question when asked. For example, Boris Koshelokhov says that he lives and creates only "here and now." The time and space in which he creates is entirely transient, and it is difficult for him to consider the future. This is also evident in his creative process, and his ability to churn out several paintings in a day. His fear of the future is manifested in his insistence on living entirely in the present. Fortunately, his art generates enough revenue to sustain him in his small hovel of an apartment, which smells of coffee, turpentine and cigarettes.
Aleksandr Bashirov, a filmmaker and actor whose film company, Deboshirfilm, has its headquarters in Pushkinskaya-10 has a much different outlook. He described his first visit to the space as visiting a garbage pile. Distressed over the disorganization and less-than-healthy lifestyle of the resident artists, he seems to think that without proper care, the art center will return to its original state – a trashed abandoned building. Unfortunately, he offers little constructive feedback as to how this fate can be prevented. He was particularly troubled by the theft of a television, which he placed in a public restroom down the hall, which destroyed his dream of a "kino-toilet." As punishment, he threatened to take a stick and hit his delinquent neighbors over the head for being no more than lazy artists.
Still others, like Valentina Kirichenko, the Art Center's International Programming Director, are loftily optimistic, saying that Pushkinskaya-10 offers much more than other galleries. She describes the center's unique quality of the creative space being shared with the public, particularly with exhibitions and studios transcending space to flow into the hallways, unrestricted by walls. Armed with a computer and a small budget for print marketing, the art center seems to find the people who are interested in their mission, particularly the younger population, as it begins to play a larger role in the operations of the art center. Older generations, who are reluctant to embrace the legacy of nonconformist art, are quickly fading out of the picture, and it is up to the youth to carry mantle of this historic art movement, she says. It would seem that although the younger generation are becoming increasingly active in forming their own spaces, they risk forgetting their history, so to speak.
To get to Pushkinskaya-10, one must know the way, in both a literal and figurative sense. Across Ligovsky Prospect from the Moskovsky Railway Station, the entrance to the art center can be found through the courtyard to house number 53. However, finding the physical space will not help you to access the nuances of the lost era of art. The artists who reside there risked their lives to create during the soviet era, and continue to resist conformity, to create, and to live. By adopting this space as their own, they have created an unofficial cooperative island, on which the memory of unofficial art lives on. Pushkinskaya-10 stands and, with love, creativity, and perseverance, will continue to stand as a testament to the courage of nonconformist artists during the soviet Era. The Art Center as a space, and the unofficial art movements which it represents, reminds us that people, to create, need freedom, and freedom means having space in which to create.
Monika Bernotas graduated from the College of William and Mary with a degree in European Studies in December of 2011. She is currently living and working in Boston while patiently waiting for news about a Fulbright English Teaching Assistantship in Belarus for the 2012-2013 school year. Her interests include Eastern European culture, global education and international business. This paper was written in autumn of 2011, drawing on research conducted in St. Petersburg over the summer of 2011.
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Bashirov, Aleksandr. Personal Interview. 20 July 2011.
Clark, Katerina. The Soviet Novel: History As Ritual. Third Edition Bloomington: Indiana University Press, 2000.
Grigoryev, Apollon. " Взгляд на русскую литературу со смерти Пушкина." (A View of Russian Literature Since Pushkin's Death) 1859. <http://az.lib.ru/g/grigorxew_a_a/text_0510.shtm> Accessed 1 August, 2011.
Kovalsky, Sergey, Evgeny Orlov, and Yuri Ribakov. Art Center "Pushkinskaya-10" – Parallelosphere. 1989-2009. St. Petersburg: Pushkinskaya-10 Art League. 2010.
Lindey, Christine. Art in the Cold War: From Vladivostok to Kalamazoo, 1945-1962. New York: New Amsterdam Books, 1990.
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Ross, David A., Tacoma Art Museum, Mass.) Institute of Contemporary Art (Boston, and Des Moines Art Center. Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism. 1st MIT Press ed. Tacoma, Wash. : Boston, Mass. : Cambridge, Mass.: Tacoma Art Museum, 1990.
Schlatter, N. Elizabeth., et al. Prostranstvo Svobody: Kvartirnye Vystavki V Leningrade, 1964-1986 = The Space of Freedom : Apartment Exhibitions in Leningrad, 1964-1986. Richmond, VA: Seattle, WA: University of Richmond Museums, 2006.
 Different terms describing the art of the Soviet Union have been coined, especially since the Soviet Union's dissolution. "Dissident" art describes art that is specifically against a particular political ideology. "Forbidden" art can be used to describe any art that is unacceptable to the regime at hand, in this case, the Soviet Union. "Nonconformist" art can be used to describe any art that is made by people who identify themselves as not conforming to the system in power. My favored term is "unofficial" art, which describes the movement's existence and addresses the fact that, although the Soviet authorities were aware of its existence, they were often helpless to confront it publicly. Although each artist chooses to associate his or herself with a different category, the concept remains generally the same.
 One situation of note is the Sots-Art travelling exhibition of 2006. The Sots-Art movement, which was based in Moscow during the late Soviet era, combined elements of Soviet propaganda and pop-art style from the United States. After the collapse of the Soviet Union, the style remained popular. However, when an exhibition of the works was to begin an international tour in 2006, at the last minute the Russian government held back several pieces from departing, despite the fact that there was no written law to explain why it should be so, an example being a photograph showing two Russian police officers embracing in a kiss in a birch forest. Sots-art remains relevant today because it satirizes not only the Soviet past, but also contemporary Russian society.
 Книга о вкусной и здоровой пище (the Book of Delicious and Healthy Food) was a classic Stalin-Era cookbook, that outlined the basics of the Soviet Russian diet, including approximately seven recipes for borscht, as well as how to serve caviar. Published in starving country the book became an epitomy of Soviet ideological hypocrisy.
 Baigell 374. Interview with Elena Figurina.
 The turn of the century brought the development of many new art movements in Europe and North America starting with impressionism and its modernist descendants, such as fauvism. These works emphasized feeling and impulse, rather than exact study of a space. Such artistic movements were thought vulgar by many critics; however, the art emerged from a politically and culturally volatile time, when it was necessary for artists to express their stance through art.
 Kovalsky. Personal Interview, citing the famous line about Pushkin by Russian nineteenth century literary critic Apollon Grigoryev.
 20th Anniversary Art Center Pamphlet.
 Kovalsky. Personal Interview at Peter and Paul Fortress.
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text:
The Fastest Toyota Trucks in the World
by Cecilia Fields on October 18, 2019
Toyota trucks are known for reliability and holding a high resale value. However, many people are also drawn to these trucks because of speed. That's right, there are a few Toyotas that clock in some respectable speed stats.
Autowise recently listed the top 15 fastest production trucks in America, claiming that many on the market today were just as fast as sports cars. One Toyota pickup topped the list, and others made honorable mention. When it comes to the fastest Toyota trucks, here are some models that always seem to stand out.
Toyota Tundra TRD Supercharged
Topping the list was the Toyota Tundra TRD Supercharged, which some reviewers claim can go from zero to 60 mph in as little as 4.4 seconds. The fastest Toyota truck on the list was first introduced in 2009, and comes equipped with a 381 hp V-8 engine that has 550 lb-ft of torque.
It actually isn't surprising that the Tundra TRD was named the fastest truck, as reviewers have been raving about its speed for more than a decade now. When it was first released, the headlines in Car and Driver magazine stated: "Temporary insanity: Toyota takes a break from hybrids and turns an unassuming Tundra into a tire-melting, 504-hp menace to society." They also claimed that operating it felt like "driving a ballistic building."
Coming in at number eight on the list was the standard Tundra, which comes equipped with a 5.7 liter V-8 engine. Surprisingly, it contains more torque than either the Chevrolet Silverado or Ford F-150.
This motor is capable of achieving a 60 mph speed in just 6.7 seconds. Not only is the Tundra one of the fastest Toyota trucks, but it also has a dynamic towing capacity of more than 10,200 pounds. This makes the Tundra second for towing capacity among all pickup trucks worldwide.
Autowise was not the first to recognize how fast the Toyota Tundra is. In 2018, MotorTrend also noted that the 2007 Tundra 4×4 Limited was among the 12 quickest pickups they had ever test drove.
In particular, they noted that the truck's V6 engine reached a 60 mph speed in only 6.0 seconds. It took the truck a mere 14.7 seconds to complete a quarter-mile, and clocked in with a top speed of 93.9 mph.
Rated number 13 by Autowise, the Tacoma was included in the list because it is available in the United States despite not being produced here. The publication claims that the Tacoma is among the fastest passenger pickup trucks around the globe, and is also one of the top mid-sized trucks.
This model is equipped with a 4.0-liter V6 engine that will reach a top speed of 109 mph, and can go from zero to 60 mph in just 7.3 seconds. Alternately, you can also choose a 2.7 liter 4 cylinder engine that has slightly less power, but will provide you with greater fuel economy.
In reviewing the best cars of 2018, US News and World Report noted that the Tacoma TRD Pro was just as fast during off-road driving as it was on the road. They also gave the vehicle great marks for its high-performance exhaust system, off-road shocks, adaptive cruise control, and automatic emergency braking system. Accordingly, they rated it number one overall among compact pickup trucks.
Toyota Trucks: strong, quick, and agile
These pickups from Toyota prove that you do not have to drive a sedan or sports car to enjoy fast performance. You also do not have to sacrifice functionality or hauling capabilities. If you have always thought of pickup trucks as being bulky and slow, you may want to look at one of these Toyota models for your next purchase.
Tags:tacoma Toyota Tundra


In this follow-up to our June 16th piece compiling "Life Itself" reviews following its festival premieres, we have assembled below the latest stream of excerpts from reviews published after the film's July 4th roll-out in theaters and on VOD. Click on the individual publications, and you will be directed to the full review. To see when the film is scheduled to open in your city, click here.
Photos provided by Magnolia Pictures and Kartemquin Films.


Experience the unifying power of sport!
The Toronto 2017 NAIG will host more than 5,000 Indigenous participants for a multi-sport event featuring 14 sports categories, over 7 days of competition. Be sure to check back often for Toronto 2017 NAIG Sport schedules and updates!


A poison or toxin is a substance that can readily harm a living organism at a low dosage. Toxins can be a result from metabolic processes and can be absorbed by the body or come into contact with it. If a harmful substance is generally effective in nature, it is called an environmental toxin. The likelihood of health impairment as a result of poisoning increases with the exposure quantity of the active ingredient. Accordingly, almost every substance is classified as poisonous (toxic) as soon as it exceeds a certain dosage.
The science that deals with the research of toxic substances, their effect at various doses and the treatment of poisoning is toxicology. It is concerned with the substances or substance mixtures and the biochemical mechanisms of toxic effects on animals, plants and microorganisms. The damage caused by a poison can be a temporary or permanent impairment or may even result in death. If the harmful effect permanently persists, it is called chronic poisoning. If the effect of poisoning immediately leads to impairment, this is called acute poisoning.


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text:
Spoiler culture has turned us all into monsters
I spoke with experts and The Wire creator David Simon about the rampant outrage over spoilers
JIM RICH
16June2019
In 2013, I was executive editor of the NY Daily News, and we, like every other publication in the country, were covering the series finale of Breaking Bad. As one of the most popular and critically acclaimed shows in history, the finale was obviously a huge news event. I decided to treat it as such and put our coverage of it across the top of Page One. There, with a small picture of the main character, Walter White, was the headline, "Breaking Dead. Walt meets bloody end in series finale."
Many editors in the newsroom argued we couldn't do that because it would act as a spoiler for those who hadn't watch the finale yet. Coincidentally, the headline beneath the Breaking Bad story was about the New York Giants' loss that Sunday afternoon. So, I asked the editors, Should we not print the score of that game because certainly some fans recorded the event and hope to watch it the next day? They didn't have a good answer to explain the difference. So the Breaking Bad headline stayed.
The next morning, as I was buying coffee at my local deli in Brooklyn, a gentleman in front of me purchased a bagel and a copy of the Daily News. A few seconds later we were both on the sidewalk, and he was crossing the street a few paces ahead of me when he glanced at the paper, stopped in the middle of the intersection, tensed his entire body, and shrieked, "Nooo!!!"
I like to think he was pissed about seeing the Giants score, but we all know what he was mad about.
Six years later, spoiler culture has gone too far. It's turned us all into monsters: There are the spoilerphobes who whine on social media at even the slightest hint of a plot detail. Then, there are those like me who resent and are annoyed by the spoilerphobes. And there are the people actually creating the entertainment, who are forced to take the most bizarre, absurd measures to prevent any semblance of a spoiler.
Just in the past year we've seen the creators of Westworld promise to, in an effort to circumvent the rampant spoiler culture, release a video revealing all spoilers for the entirety of Season Two. Their plan, which was received surprisingly well by fans, ended with a laugh upon the release of a 25-minute, custom Westworld Rickroll prank.
Avengers directors Joe and Anthony Russo have said that none of the Endgame actors, with the exception of Robert Downey Jr., had been allowed to read the entire script. In fact, Spider-Man actor Tom Holland was so vulnerable to leaking spoilers that they didn't give him any details for the scenes he was even acting in.
"I remember for Avengers, the Russo Brothers are like 'So you're just standing here, and you're fighting this guy and just do whatever,'" Holland said at a Comic Con Phoenix event last year. "And I'm like, 'Okay, who am I fighting?' And they were like 'Well, we can't tell you because it's a secret.'
Is this really what moviemaking has come to? Even a showrunner such as David Simon—the famed creator of The Wire, Treme, and The Deuce—who doesn't consider his work prime for spoiler culture, can't avoid it.
"I don't write stuff with a lot of twists and turns, by standards, and I also don't conjure an audience that runs to the water coolers, digital or otherwise, after every episode to foment speculation," Simon told me by email, before conceding, "We do try not to publish reveals in whatever episodic synopsis we send out through HBO. That's about it."
For the past few weeks, spoiler culture has reached a truly nightmarish climax with both Avengers: Endgame and the final episodes of Game of Thrones. Social media has become a constant battle between the Have-Seens and the Have-Not-Seens. The Have-Not-Seens will take every opportunity to attack a stranger for a perceived leak of a plot detail.
One random person on Twitter accused me of "breaking the social contract" when I passingly pointed out that Arya Stark killing the Night King was like a "last-second, game-winning dunk."
I'm not sure that this is what Thomas Hobbes or John Locke had in mind.
This is a spoiler— Bart Harley Jarvis (@Duckettdog) April 29, 2019
None of this is new. For as long as people have been talking loudly as they walk out of theaters, there have been poor schlubs on their way in for the next showing complaining about the spoiler they just overheard. The internet and on-demand viewing has only exacerbated the phenomenon. But at this stage, you'd think that as a society, we'd have figured out to manage it all better.
As Nicholas Christenfeld, a psychology professor at UC San Diego points out, that's what's new about the conundrum.
"Everyone knew who shot J.R.," Christenfeld says, referring to the huge reveal in the 1980s prime-time soap, Dallas. "You didn't have a chance to watch it at a different time. With asynchronized viewing, that old social contract is suddenly breaking down."
To be fair, there are rare exceptions where sharing plot details about movies, TV shows or books is just plain rude. If you invite me to your home for dinner you are more than entitled to request I don't discuss how Jon and Dany seem destined for a showdown in the final two episodes of GoT. If you have set your Facebook to private, then you have every right to have your friends honor your request for no Endgame discussion. Beyond that, you are being a bit selfish.
"People get carried away and self-absorbed," Christenfeld told me with a laugh. "They are still entitled to that, but they feel violated more than they are violated."
Christenfeld and colleague Jonathan D. Leavitt published a research paper in 2011 that demonstrated that spoilers not only do not hinder one's enjoyment of a piece of media, they actually enhance them.
"People who see the research don't believe it," Christenfeld says. "People think that they can't know the ending ahead of time. They are wrong about their own aesthetic judgments."
Being deceived by one's emotions into making flawed intellectual judgments is understandably human. What's less understandable is the seeming randomness involved in what spoiler protection people feel entitled to.
Imagine walking into a bar on an autumn afternoon during halftime of that same Giants game and demanding the bartender turn off the TVs and that all patrons cease discussing the game simply because you planned on watching it later. It's preposterous, no? (And would likely get you thrown out of the bar on your ass.) But how is this different than the way people behave with dramatic series and movies?
"When you watch Hamlet, is it ruined if you know he dies?" Christenfeld says. "You'd have to be an idiot going to a Shakespeare play and not knowing the ending."
He's right. It doesn't ruin it or dissuade people from watching Shakespeare's plays. We all know what happens. It's like looking at the Mona Lisa more than once. Or listening to Bob Dylan's Blood on the Tracks despite knowing the sequence and word of every song on the album.
This is what separates the football game from movies, plays, TV shows, paintings and songs. Football isn't art. It's plot is driven toward a singular purpose: the final score. That's not how TV shows and movies should be treated, yet they are.
"I have a French filmmaker friend who scoffs at the American idea of plot in movies," says Christenfeld. "He thinks film is art and should be consumed as such. 'Plot is for children,' he says."
And I'd argue spoilers—and the culture surrounding them—are, too. If we demand and accept having our breaking news fed to us intravenously via push alert, shouldn't we not flinch at the needle prick that is a plot reveal? In a world where our TV and film choices are no longer cul-de-sacs of guilty pleasure or cultural enlightenment, yet full-blown news-cycle events, this seems like a reasonable ask. Even with access to on-demand entertainment to watch on our own time, should we treat Game of Thrones episodes as a live entertainment event when the conversation is happening in real time? The way we are exposed to details of major cultural events is evolving along with a society that demands immediate access to news and information—spoilers aren't any different.
"If I happen to follow someone on Twitter who posts about a show or movie, is that my fault or theirs?" Christenfeld asks, before suggesting it isn't the person who's posting that is responsible for protecting you from a spoiler. "No one owes you that."
We live in a world of spoilers—one that's even more heightened and immediate than the media landscape in which I put Breaking Bad on the cover of the Daily News. And the earlier we accept that the better it will be for everyone.
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Each year, Miami University students are invited to participate in the Game Developer's Conference mini course. Students receive credit hours to prepare for and then attended the Game Developers Conference, a huge yearly event in San Francisco with tens of thousands of attendees. GDC is one of the premier professional interactive media experiences we can provide AIMS students. Students typically love their experience at GDC as it is both eye-opening and invigorating. The conference is a high energy event filled with game design and development celebrities, presentations, workshops, tutorials, career expo and fantastic opportunities to network with people in all the facets of gaming - from developers to journalist, artists to academics.
Students who attend the mini course are required to join any pre-event meetings, prepare appropriate materials for the event and attend the event. They will be considered to receive free AIMS lodging, but airfares and passes are to be bought by the students themselves. (We recommend buying a pass in the Fall, as great price/value options such as the Indie Pass tend to sell out quickly.) There are many scholarship opportunities for students who need them, including the AIMS GDC scholarship. Participanting students present and write about the experience once they return.


There is some good news for all Bollywood buffs in the world, and for every theme-park enthusiast! Dubai is coming up with a special Bollywood-themed park, which will be a part of Dubai Parks & Resorts, which will let fans of Bollywood movies enjoy the biggest superhit movies and memorable characters again and again, with a variety of games and attractions. From an interactive shooting game to take down the villainous Gabbar from "Sholay "or a 3D adventure ride to catch Shahrukh Khan's popular character Don, to Hrithik Roshan's Krrish giving an aerial tour of India's most famous places, and also getting a ride like the Mumbai locals in a train which runs through the park, Bollywood Parks Dubai has something for every Bollywood fan.
What's more - Bollywood's biggest stars are promoting Bollywood Parks Dubai with videos which will be showcased at its glittering and star-studded opening ceremony. Superstars Shahrukh Khan and Hrithik Roshan have already shot for their individual promotional videos, talking at length about their respective characters and the attractions at the theme park associated with their character. And now, Salman Khan has joined the bandwagon as he is reliving his Chulbul Pandey days from Dabangg and recently shot for a video for an attraction.
Salman Khan released a teaser video of him doing some live stunts for the attraction Dabangg: Stunt Spectacular, located in the Rustic Ravine Zone. It will see the cheeky police officer on an adventure to rescue his wife Rajjo from some village goons. The video also features his brother Arbaaz Khan, who played Makkhi in the movie and is also the producer of the film.
That's not it at the Rustic Ravine Zone! This Zone will also have a separate attraction based on Aamir Khan's "Lagaan," called "Lagaan Thrill Of Victory," which will have a mini carnival set in a village, complete with a ferris wheel, carousel and other fun rides, alongwith other rustic attractions from a couple of more movies.
Bollywood Parks Dubai will open for public on November 15.


text:
.class final Lorg/codehaus/jackson/map/deser/std/StdKeyDeserializer$StringCtorKeyDeserializer;
.super Lorg/codehaus/jackson/map/deser/std/StdKeyDeserializer;
.source "StdKeyDeserializer.java"

# annotations
.annotation system Ldalvik/annotation/EnclosingClass;
    value = Lorg/codehaus/jackson/map/deser/std/StdKeyDeserializer;
.end annotation

.annotation system Ldalvik/annotation/InnerClass;
    accessFlags = 0x18
    name = "StringCtorKeyDeserializer"
.end annotation

# instance fields
.field protected final _ctor:Ljava/lang/reflect/Constructor;
    .annotation system Ldalvik/annotation/Signature;
        value = {
            "Ljava/lang/reflect/Constructor",
            "<*>;"
        }
    .end annotation
.end field

# direct methods
.method public constructor <init>(Ljava/lang/reflect/Constructor;)V
    .locals 1
    .annotation system Ldalvik/annotation/Signature;
        value = {
            "(",
            "Ljava/lang/reflect/Constructor",
            "<*>;)V"
        }
    .end annotation

    .prologue
    .line 264
    .local p1, "ctor":Ljava/lang/reflect/Constructor;, "Ljava/lang/reflect/Constructor<*>;"
    invoke-virtual {p1}, Ljava/lang/reflect/Constructor;->getDeclaringClass()Ljava/lang/Class;

    move-result-object v0

    invoke-direct {p0, v0}, Lorg/codehaus/jackson/map/deser/std/StdKeyDeserializer;-><init>(Ljava/lang/Class;)V

    .line 265
    iput-object p1, p0, Lorg/codehaus/jackson/map/deser/std/StdKeyDeserializer$StringCtorKeyDeserializer;->_ctor:Ljava/lang/reflect/Constructor;

    .line 266
    return-void
.end method

# virtual methods
.method public _parse(Ljava/lang/String;Lorg/codehaus/jackson/map/DeserializationContext;)Ljava/lang/Object;
    .locals 3
    .param p1, "key"    # Ljava/lang/String;
    .param p2, "ctxt"    # Lorg/codehaus/jackson/map/DeserializationContext;
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Ljava/lang/Exception;
        }
    .end annotation

    .prologue
    .line 271
    iget-object v0, p0, Lorg/codehaus/jackson/map/deser/std/StdKeyDeserializer$StringCtorKeyDeserializer;->_ctor:Ljava/lang/reflect/Constructor;

    const/4 v1, 0x1

    new-array v1, v1, [Ljava/lang/Object;

    const/4 v2, 0x0

    aput-object p1, v1, v2

    invoke-virtual {v0, v1}, Ljava/lang/reflect/Constructor;->newInstance([Ljava/lang/Object;)Ljava/lang/Object;

    move-result-object v0

    return-object v0
.end method

redpajama_set_name: RedPajamaGithub


is a partnership focused on nurturing and growing Guelph's exceptional beer culture by furthering beer education, promoting collaboration, and building Guelph's reputation as a world-class brewing centre and beer destination.
All 5 of Guelph's local brewers have teamed up to get the Guelph.Beer Bus rolling this summer. One special Saturday per month from May to August, the Guelph.Beer Bus will provide free bus transportation to each of Guelph's brewers, giving guests the opportunity to responsibly explore Guelph's vibrant local beer culture.
The first Guelph.Beer Bus will run on Saturday May 11th from 12-6pm and will be open to people of all-ages with stops at Brothers Brewing, Fixed Gear Brewing, Wellington Brewery, Sleeman Brewing, The Fat Duck Gastro Pub, and Royal City Brewing. Bus transportation will be provided by Guelph Transit charter buses which will provide event attendees with a safe and convenient ride. Donations will be accepted on the bus to support Autism Behavioural Services.
is a unique association open to all commercial brewers in Guelph and current members include: Wellington Brewery, Fixed Gear Brewing, Sleeman Brewing, Brothers Brewing, and Royal City Brewing Co. Together we are committed to working together to celebrate and promote Guelph's unique beer culture.
Our Community – We truly believe that Guelph is a special place to live. We are committed to enhancing and supporting our local community through engagement, dialogue, and by being active supporters of local community groups, initiatives, and charitable causes.
Cooperation – We will identify ways in which our breweries can work to together for the benefit of all members, the association, the industry, and the city of Guelph.
Inclusivity – Everyone has the right to enjoy the beer of their choice and neither people nor beer should be excluded from our community on the basis of their race, sexuality, gender, or beer style preference.
Responsibility – We believe that beer is best consumed in moderation, and in a responsible manner. With comprehensive public transit options in Guelph there should never be a need to drink and drive.
Conservation – As brewers we recognize that water is at the heart of what we do. We are committed to using water responsibly and finding new ways to promote water conservation and sustainability.
Beer – We love beer. We all make great beer, we all love drinking beer, and we want to work to foster that appreciation and enjoyment in others.