Crude oil and diesel prices have been on the march lately, with the former up nearly 40% since late December. The Brent international benchmark price for oil topped $70 per barrel last week for the first time in months, while the U.S. West Texas Intermediate price is closing in this week on $65 a barrel.
Retail diesel prices, now averaging $3.08 a gallon, should be watched closely as the 2020 deadline for implementing new international marine fuel standards draws near. The International Maritime Organization (IMO) environmental regulations, aimed at lowering the sulfur content in marine fuels, could create a supply gap and price spike for similar grades of petroleum products, including diesel.
Diesel would be the first hit as a rising portion of the pool of distillates used to produce over-the-road diesel will be diverted into making either more of a product known as marine diesel or to be blended into a new family of products known as very low sulfur fuel oil (VLSO). Both would substitute for the high-sulfur fuel oil, also known as bunker fuel, that now powers most vessels.
The IMO's stricter sulfur rules could spell bad news for the American trucking industry, and potentially provide an unwelcome talking point to the opponents of President Donald Trump as he seeks re-election in the November 2020 elections.
Trump has won praise from the U.S. energy industry for his deregulatory domestic agenda and his commitment to American "energy dominance," particularly in fossil fuels, a sector where the United States has become the world's largest oil producer and a major exporter.


text:
Arcus ASA
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Arcus ASA/
Arcus discusses with the competition authorities remedy proposals relating to the combination of Altia and Arcus in line with the authorities' initial assessments
Thu, Mar 11, 2021 09:40 CET Report this content
THIS STOCK EXCHANGE RELEASE MAY NOT BE PUBLISHED OR DISTRIBUTED, IN WHOLE OR IN PART, DIRECTLY OR INDIRECTLY, IN OR INTO AUSTRALIA, CANADA, HONG KONG, JAPAN, SOUTH AFRICA OR ANY OTHER JURISDICTION WHERE SUCH PUBLICATION OR DISTRIBUTION WOULD VIOLATE APPLICABLE LAWS OR RULES OR WOULD REQUIRE ADDITIONAL DOCUMENTS TO BE COMPLETED OR REGISTERED OR REQUIRE ANY MEASURE TO BE UNDERTAKEN IN ADDITION TO THE REQUIREMENTS UNDER FINNISH LAW. FOR FURTHER INFORMATION, SEE "IMPORTANT NOTICE" BELOW.
Altia Plc ("Altia") and Arcus ASA ("Arcus") announced on 29 September 2020 the merger of Altia's and Arcus' business operations through a statutory cross-border absorption merger of Arcus into Altia (the "Merger"), which is expected to complete during the first half of 2021.
The completion of the Merger is still subject to, inter alia, merger control approvals from competition authorities. Altia and Arcus have applied for merger control clearances from the Finnish Competition and Consumer Authority (the "FCCA"), the Swedish Competition Authority (the "SCA") and the Norwegian Competition Authority (the "NCA"). The Merger can be approved as such, approved conditionally or prohibited. On 15 December 2020, 21 December 2020, and 8 January 2021, respectively, Arcus published a stock exchange release about the SCA's, NCA's and FCCA's decisions to move their investigations into phase II.
As part of its phase II investigation and according to authority practice, the NCA has today published information on its draft decision including its preliminary conclusions concerning the Merger. Altia and Arcus are currently discussing potential remedies as well as their implementation process with the NCA to resolve the NCA's competition concerns relating to the Merger. The NCA has expressed competition concerns in the sale of spirits to Vinmonopolet, the Norwegian State alcohol retail monopoly, in the categories of aquavit, vodka and spirits below 22 % ABV, included in the assessments in its decision to move its investigation to phase II. As a next step in phase II of the investigation, Altia and Arcus will submit their response to the NCA's assessments set out in the draft decision.
Similarly, Altia and Arcus are currently discussing remedy proposals also with the FCCA and the SCA in line with their decisions to move their investigations to phase II.
Altia and Arcus continue to expect, based on currently available information, to obtain the merger control approvals and to complete the Merger during the first half of 2021.
For questions, please contact Per Bjørkum, Group Director Communications and IR. Mobile.: +47 92255777, email: per.bjorkum@arcus.no
Information on Altia and Arcus in brief
Arcus is a leading Nordic branded consumer goods company within wine and spirits. Arcus is the world's largest producer of aquavit, and holds strong market positions for wine and spirits across the Nordics. Vectura, a wholly owned company, supplies complete logistics solutions for the beverage industry in Norway. Arcus was spun off from the Norwegian state monopoly, Vinmonopolet, in 1996 and since then has grown from a local company to an international group with the Nordic region and Germany as its home market. The Group also exports a significant volume of spirits to other countries. Arcus is listed on Oslo Børs.
Altia is a leading Nordic alcoholic beverage brand company operating in the wine and spirits markets in the Nordic and Baltic countries. Altia wants to support a development of a modern, responsible Nordic drinking culture. Altia's key exports brands are Koskenkorva, O.P. Anderson and Larsen. Other iconic Nordic brands are Chill Out, Blossa, Xanté, Jaloviina, Leijona, Explorer and Grönstedts.
Altia's current strategy is built on two core strengths: Altia is the Nordic distillery that masters the sustainable production of high-quality grain-based spirits, and provides the best route-to-market through distribution and channel execution for its brands and partners.
The distribution of this release may be restricted by law and persons into whose possession any document or other information referred to herein comes should inform themselves about and observe any such restrictions. The information contained herein is not for publication or distribution, in whole or in part, directly or indirectly, in or into Australia, Canada, Hong Kong, Japan, South Africa or any other jurisdiction where such publication or distribution would violate applicable laws or rules or would require additional documents to be completed or registered or require any measure to be undertaken in addition to the requirements under Finnish law. Any failure to comply with these restrictions may constitute a violation of the securities laws of any such jurisdiction. This release is not directed to, and is not intended for distribution to or use by, any person or entity that is a citizen or resident or located in any locality, state, country or other jurisdiction where such distribution, publication, availability or use would be contrary to law or regulation or which would require any registration or licensing within such jurisdiction.
Altia is a Finnish company and Arcus is a Norwegian company. The transaction, including the information distributed in connection with the merger and the related shareholder votes, is subject to disclosure, timing and procedural requirements of a non-U.S. country, which are different from those of the United States.
It may be difficult for U.S. shareholders of Arcus to enforce their rights and any claim they may have arising under U.S. federal or state securities laws, since Altia and Arcus are not located in the United States, and all or some of their officers and directors are residents of non-U.S. jurisdictions. It may be difficult to compel a foreign company and its affiliates to subject themselves to a U.S. court's judgment. U.S. shareholders of Arcus may not be able to sue Altia or Arcus or their respective officers and directors in a non-U.S. court for violations of U.S. laws, including federal securities laws, or at the least it may prove to be difficult to evidence such claims. Further, it may be difficult to compel Altia or Arcus and their affiliates to subject themselves to the jurisdiction of a U.S. court. In addition, there is substantial doubt as to the enforceability in a foreign country in original actions, or in actions for the enforcement of judgments of U.S. courts, based on the civil liability provisions of the U.S. federal securities laws.
Arcus' shareholders should be aware that Altia is prohibited from purchasing Arcus' shares otherwise than under the Merger, such as in open market or privately negotiated purchases, at any time during the pendency of the Merger under the Merger Plan.
This release does not constitute a notice to an EGM or a merger prospectus and as such, does not constitute or form part of and should not be construed as, an offer to sell, or the solicitation or invitation of any offer to buy, acquire or subscribe for, any securities or an inducement to enter into investment activity. Any decision with respect to the proposed merger of Arcus into Altia should be made solely on the basis of information to be contained in the actual notices to the EGM of Arcus and Altia, as applicable, and the merger prospectus related to the merger as well as on an independent analysis of the information contained therein. You should consult the merger prospectus for more complete information about Altia, Arcus, their respective subsidiaries, their respective securities and the merger. No part of this release, nor the fact of its distribution, should form the basis of, or be relied on in connection with, any contract or commitment or investment decision whatsoever. The information contained in this release has not been independently verified. No representation, warranty or undertaking, expressed or implied, is made as to, and no reliance should be placed on, the fairness, accuracy, completeness or correctness of the information or the opinions contained herein. Neither Altia nor Arcus, nor any of their respective affiliates, advisors or representatives or any other person, shall have any liability whatsoever (in negligence or otherwise) for any loss however arising from any use of this release or its contents or otherwise arising in connection with this release. Each person must rely on their own examination and analysis of Altia, Arcus, their respective securities and the merger, including the merits and risks involved. The transaction may have tax consequences for Arcus shareholders, who should seek their own tax advice.
This release includes "forward-looking statements." These statements may not be based on historical facts, but are statements about future expectations. When used in this release, the words "aims," "anticipates," "assumes," "believes," "could," "estimates," "expects," "intends," "may," "plans," "should," "will," "would" and similar expressions as they relate to Altia, Arcus or the merger identify certain of these forward-looking statements. Other forward-looking statements can be identified in the context in which the statements are made. Forward-looking statements are set forth in a number of places in this release, including wherever this release includes information on the future results, plans and expectations with regard to the Combined Company's business, including its strategic plans and plans on growth and profitability, and the general economic conditions. These forward-looking statements are based on present plans, estimates, projections and expectations and are not guarantees of future performance. They are based on certain expectations, which may turn out to be incorrect. Such forward-looking statements are based on assumptions and are subject to various risks and uncertainties. Shareholders should not rely on these forward-looking statements. Numerous factors may cause the actual results of operations or financial condition of the Combined Company to differ materially from those expressed or implied in the forward-looking statements. Neither Altia nor Arcus, nor any of their respective affiliates, advisors or representatives or any other person undertakes any obligation to review or confirm or to release publicly any revisions to any forward-looking statements to reflect events that occur or circumstances that arise after the date of this release. Further, there can be no certainty that the merger will be completed in the manner and timeframe described in this release, or at all.
The securities referred to in this release have not been, and will not be, registered under the United States Securities Act of 1933, as amended (the "U.S. Securities Act"), or the securities laws of any state of the United States (as such term is defined in Regulation S under the U.S. Securities Act) and may not be offered, sold or delivered, directly or indirectly, in or into the United States absent registration, except pursuant to an exemption from, or in a transaction not subject to, the registration requirements of the U.S. Securities Act and in compliance with any applicable state and other securities laws of the United States. This release does not constitute an offer to sell or solicitation of an offer to buy any of the shares in the United States. Any offer or sale of new Altia shares made in the United States in connection with the merger may be made pursuant to the exemption from the registration requirements of the U.S. Securities Act provided by Rule 802 thereunder.
The new shares in Altia have not been and will not be listed on a U.S. securities exchange or quoted on any inter-dealer quotation system in the United States. Neither Altia nor Arcus intends to take any action to facilitate a market in the new shares in Altia in the United States.
The new shares in Altia have not been approved or disapproved by the U.S. Securities and Exchange Commission, any state securities commission in the United States or any other regulatory authority in the United States, nor have any of the foregoing authorities passed comment upon, or endorsed the merit of, the merger or the accuracy or the adequacy of this release. Any representation to the contrary is a criminal offence in the United States.
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Alot of images this time, but I really couldn't choose what to show of the beautiful work of the British artist Emily Jo Gibbs.
Gibbs creates her work by embroidering silk organza onto linnen.
I have extra reason to be interested in Gibbs' work, as for two years now I have a little project going with writer/friend Anke Kranendonk, where we exchange 'letters' that are embroidered, knit, or otherwise crafted. Above is an example of one of my 'letters', an ode to my first needlework teacher. It is not as dreamily refined as Gibbs' work, but stems from the same love for the material.


There is a growing market for luxury mega yachts today.The ones in the small and medium sizes, both custom-built and semi-custom built are in demand.Hundreds of these medium size mega yachts are being constructed every year. Amels in the Netherlands first built these luxury mega yachts that were semi-custom. These were called Limited Editions. They are built with engineering features that are similar for all the yachts built, which greatly shortens building time. But the interior design is completely in the hands of the buyer and the potential buyer. Custom made mega yachts for sale have also become popular thanks to the Limited Edition.
Benetti Yachts started in 1960 has a varied portfolio. They have four semi-custom ranges from models 28.9 LOA up to 73.1 meters LOA.
Azimut in Turin has five mega-yacht collections; The Flybridge Collection is the most popular.
Feadship Royal Shipbuilders in the Netherlands is one of the foremost builders of mega custom yachts in the world.
Ferretti, the Italian shipbuilder, is reputed for its smaller mega yachts. They specialize in semi-custom composite yachts from 13.7 to 29 meters LOA.
Sunseeker is a British luxury shipbuilding establishment. For mega yachts over 30.1 meters the shipbuilders offer fully customized builds. Customers can thereby build their yachts from scratch in a way that fits their lifestyle.
Trinity was established in 1988 in New Orleans. It stands apart from other shipbuilding companies in the United States, because it allows custom building in any size the buyer wants.
The best way to buy a luxury yacht is to go through a broker. Yacht brokers are in touch with the ship builders and with people who want to sell their mega yachts second-hand. They can deal with all the details involved in the sale process and can get you exactly what you want. 4Yacht is one of the top luxury yacht brokers in the United States. They are based in Florida and have hundreds of yachts to recommend for sale.


Mr. and Mrs. Arlie Pickles of Sand Creek, Mich., recently celebrated 60 years of marriage.
They were married Jan. 18, 1953, at the Morenci Nazarene Church by Rev. Harvey Schoonover.
The couple has three children, Cheryll (and Paul) Stewart of Grand Rapids, Mich., David of Hickory, N.C., and Douglas (and Londa) of Sand Creek. They also have eight grandchildren and 10 great-grandchildren.
They celebrated with a Caribbean cruise.


text:
True Memories of Bliss
Jan 29, 2019 | S:1 E:13
In this episode, Joe and Toby explore the groundbreaking 1988 hip-hop duo P.M. Dawn and their De La Soul-esque 'romantic hip-hop' infused catalog of music. The group, composed of Jersey City brothers Attrell Cordes, known as Prince Be, and brother Jarrett Cordes, who went by DJ Minutemix, earned enormous success for their stream of pop hits in the 1990's. The focus track, "Set Adrift on Memory Bliss" (1991) was P.M. Dawn's first (and only) number-one hit on the US Billboard Hot 100 and features a sample - everyone will recognize - from a memorable 80's British new wave pop band.
What we geek out over in this episode: The soul music genre, saxophone solos, Bob James "Take Me to the Mardi Gras" (1974) and Run-DMC "Peter Piper" (1986), Joni Mitchell "The Boho Dance" (1975), Christina Applegate, MC KRS-One "The Bridge is Over" (1987) & "South Bronx" (1986), and the Boomerang movie (1992).
Bonus Material: Soul Searchers "Ashley's Roachclip" drum break from their 1974 album Salt of the Earth and the popular songs that sampled this memorable drum loop.
🔊"Set Adrift on Memory Bliss"
Joe: Hello and Welcome to Riffs on Riffs, where we explore the collision of original and sampled tracks and the artists who made them. I'm your host, Joe Watson, and I'm here with my co-host, Toby Brazwell. What's up Toby?
Toby: Not much man! Good to be here!
Joe: Glad to have you here! So together on this show we listen to the legendary tracks and the timeless — but sometimes not-so-well-known — songs they sampled from. Toby, what are we listening to today?
Toby: This is a track called "Set Adrift on Memory Bliss" from the group P.M. Dawn. Let's hop in the Delorean and find out what track was sampled to produce this hit.
Joe: Rewind!
🔊"Rewind Sound"
🔊"True"
Joe: This is the title track from the 1983 Spandau Ballet album True. This song hit #4 on the Billboard Hot 100 in the US and also topped the adult contemporary charts. It charted in numerous other countries and was #1 on the UK singles charts for four weeks in 1983, finishing as the sixth biggest selling single of the year.
Toby: "True" was written by the band's guitarist and principal songwriter, Gary Kemp. As one might expect, it was written about a girl. In this case, her name was Clare Grogan and she was the singer in another new wave band called Altered Images.
Joe: Altered Images was a Scottish band that had six top 40 hits in the UK between 1981 and '83. one of their biggest hits was "Happy Birthday," which was #2 on the charts for three weeks in September of '81. Let's give that a listen.
🔊"Happy Birthday"
Toby: This is kinda catchy, but I still think I prefer Stevie Wonder's version if I'm hanging with my boys. And if it's just me and the Mrs… then I go with Marilyn Monroe's version that she sang to JFK if you know what I'm saying!
Joe: You mean when things get Hotter than July? Regardless, Gary Kemp was smitten with Ms. Grogan, and even traveled up to Scotland to have tea with her and her parents. His feelings were unrequited, however, and their relationship was strictly platonic.
Toby: Outside of racking up some airline miles it certainly made for great song material! The song is about how difficult it is to be honest when you're trying to write a love song to someone, as shown with lyrics like, "Why do I find it hard to write the next line?"
Joe: Gary has also talked about how the lyrics are full of coded messages to Clare. He says, quote, "I'm still berated for the line, 'Take your seaside arms' but it's straight out of Lolita by Vladimir Nabokov, which she had given me as a present – although in the book, it's 'seaside limbs.' The line 'With a thrill in my head and a pill on my tongue' is also a bastardisation of Nabokov. I don't want to embarrass Clare. I was 22 and she was 18. 'True' was really a song about me and my idea of love."
Toby: What is it with people wanting to incorporate that book in their lyrics? I don't get it. That book was weird to me. Just weird, but not the type of weird I want to relive in a song over and over again. Didn't Sting also reference Nabokov and Lolita in a Police song?
Joe: I'm with you man. I've never read the book, because the subject matter is not just weird, it's disturbing to me. And yes, Sting gives a direct shout out to Nabokov in "Don't Stand So Close to Me."
Toby: Gary Kemp also gave a direct shout out in "True" — to Marvin Gaye. Let's listen.
🔊Listening to Marvin
Toby: Kemp says that line was, quote, "was a reference to me and Steve Norman, the band's saxophonist. We were massive soul boys: we loved MTV, the Face magazine and all that glossy stuff, so this was us taking an anti-rock stance."
Joe: It's kind of fun to hear someone say they are taking an "anti-rock" stance, because I typically think of rock and punk as the anti-establishment genres. Kemp goes on to say, "The inky press loved blues and reggae because they were about suffering. They didn't like soul because it was aspirational, all about dancing, wearing great clothes and having sex. They saw it as vacuous. So namechecking Marvin Gaye was a defiant statement aligning us with the London soul boy culture stretching back to mod." That's interesting to me, Toby. I've never thought of soul music as some sort of vapid form of blues, more of an evolution or permutation of it. Maybe this was an English thing. Do you think soul music has been perceived differently in the States?
Toby: I never thought of that before, and tend to agree with you and see soul music as an evolution. Every music genre does this - it evolves. Without getting too deep as far as classical music is concerned you started off with medieval which lasted from 500–1400 AD. Then Renaissance which lasted from 1400–1600 AD. Then Baroque period which was from 1600–1750 AD and so forth and so on. It happened to Jazz as well as rock and we're seeing it today with Rap. When I was younger I felt differently because I wanted the "true Hip hop" to not be threatened, but when you love something as much as I do - sometimes you got to let it grow into what it's going to be. I think the test of a genre's impact is whether we can argue about what's "fake" and what's "True"… pun intended.
Joe: Way to bring it back, to our featured track, buddy! Returning the conversation to Spandau Ballet, band Saxophonist Steve Norman says he sort of stumbled upon the instrument by accident. He started out as a drummer, but could never afford a full kit, so he got a guitar. Then, when it turned out there wasn't room in the band for another guitarist, he switched to saxophone, teaching himself. The sax solo on "True" is actually a composite of two takes. Steve says, "I'd only been playing a year and was listening to Grover Washington Jr's 'Just the Two of Us' with Bill Withers, over and over. The solo is a reply to that: at the key change things just lift off, giving the song a moment of elation." You can definitely hear the inspiration. Let's take a listen to that Grover Washington Jr. solo from "Just the Two of Us."
🔊"Just the Two of Us"
Joe: And now let's listen to Steve Norman's sax solo in "True."
🔊"True" Sax Solo
Joe: Both are beautifully crafted solos that propel the song with added depth and dimension.
Toby: I know this much is true, being in a band is hard work, and sometimes the business side of things can ruin great creative relationships. In 1999, the rest of the band tried to sue Gary Kemp for a share of his publishing royalties, claiming that they had agreed he would get half and they would all split the other half. Since Gary wrote the lyrics and music for the band's songs, he was receiving all of the publishing royalties.
Joe: They lost the case and eventually dropped the appeal, but there is good news. By 2009 they had resolved their differences and reunited. In 2014 they released a greatest hits collection that contained three new songs, and the album reached the top ten in the UK. They went on a world tour the following year. Lead singer Tony Hadley then left the band in 2017 and was replaced by Ross William Wild.
Toby: I guess happy endings do happen outside of Disney movies! Let's change course a little bit and get into our next featured track that samples "True." Have another listen to P.M. Dawn and "Set Adrift on Memory Bliss."
Toby: P.M. Dawn is a hip hop/R&B group composed of brothers Attrell and Jarret Cordes. The Cordes brothers knew their share of tragedy early on. Their father died of pneumonia and their younger brother drowned at the age of 2. The Cordes brothers were raised by their mom and stepfather George Brown.
Joe: interesting fact — this George Brown was a percussionist and keyboardist and just so happened to be one of the founding members of Kool and the Gang.
Toby: So Attrell was working doing night security and was able to save up money for their first demo.
Joe: Ahh yes. Trying to get signed. Have you ever done a demo?
Toby: I have - I've done at least 4.
Joe: Well the demo tape for the Cordes brothers cost them $600. I'm just assuming that included mixing and mastering. And it was money well spent as it did get them signed, but not without having to jump through some hoops at first. The label, Tommy Boy, thought that they sounded too familiar to the other hip hop groups. De La Soul weren't the hardcore rap act the label was looking for.
Toby: Yeah hardcore is definitely NOT a term that I would used to describe P.M. Dawn. Attrell used the name Prince Be the Nocturnal and Jarret used DJ Minutemix as their stage names.
Joe: Wow… with names like Prince Be the Nocturnal, I feel like should change my name from Sonowats. What about "King Mojo the Dreamweaving Thunderlord of the Apocalypse?"
Toby: How about Just NO. Let's get back to P.M. Dawn. Well thankfully another label did pick them to get signed. They were signed to the Gee Street label. Gee Street is a label based in the UK, but they weren't the only UK label interested in the Cordes brothers.
Joe: Which is a very good thing, because Gee Street unfortunately went bankrupt during recording. Imagine your dream coming true and getting signed in the first place by a label that is confident enough in your music to fly you to the UK to record the album. And then boom… the label goes bankrupt during recording.
Toby: I can't help but to think that the trips back and forth to England might have affected the cash flow. I'm just thinking that Gee Street might still be around if Frontier or Spirit Airlines existed back then. Regardless of how they went bankrupt, the label — including all of the recorded P.M. Dawn material — was bought by Island Records. Luckily they believed in P.M. Dawn as well and released several singles to gain traction before their album entitled: Of the Heart, of the Soul and of the Cross was released. The first single "A Watcher's Point of View (Dont'cha Think)," let's take a listen to that:
🔊"A Watchers Point of View (Dont'cha Think)"
Joe: The song was an underground hit, but they made a giant leap into the mainstream with their second single which is our featured song "Set Adrift On Memory Bliss". The song was a hit, and to add a cherry on top, Tony Hadley, lead singer from Spandau Ballet, has a cameo in the video. "Set Adrift on Memory Bliss" hit the number 1 spot on Nov 30, 1991 and actually made history as being the first song since the introduction of the Nielsen Soundscan to do so.
Toby: Nielsen Soundscan, for those that don't know, is a system that tracks sales of music and music video products in both US and Canada.
Joe: It kinda makes you wonder what people were using before Nielsen…
Toby: Great question: I'm so glad that you asked… Before Nielsen, Billboard employees would call stores across the country to ask about sales. I know… sounds real accurate right?
Joe: Right. I'm sure there was no fudging of statistics at all. But "Set Adrift" was certifiably a hit. Let's break down some of the other samples on this track. Besides the obvious sample of "True," "Set Adrift on Memory Bliss" also samples Bob James 1975 track "Take Me to the Mardi Gras." Let's take a listen to that.
🔊"Take Me to the Mardi Gras" - Bob James
Joe: This is an instrumental cover of the Paul Simon original, which was found on his 1973 album entitled There Goes Rhymin' Simon. I guess everyone wants to be a rapper! Let's take a listen to the original "Take Me to the Mardi Gras" from Paul Simon.
🔊"Take Me to the Mardi Gras" - Paul Simon
Toby: And for those that think that drum break in the Bob James version sounds familiar, it has been sampled in several songs, one of the most well known being Run DMC's "Peter Piper." Let's take a listen to that:
🔊"Peter Piper"
Joe: Love this track! It's so funny that here we are talking about one of the hardest hip hop groups in history, Run DMC, in the same breath as P.M. Dawn. This is a group thought of more or less to be a part of the hippie movement of hip hop, along with Tribe Called Quest, and aforementioned De La Soul.
Toby: Just the fact that these songs are linked proves that music is a universal language.
Joe: Lyrically, Set "Adrift on Memory Bliss" connects multiple genres as well. They were clearly fans of Joni Mitchell. Let's take a listen her song "The Boho Dance" off of her 1975 album The Hissing of Summer Lawns.
🔊"The Boho Dance"
Toby: You can hear how lyrics like "The camera pans the cocktail glass Behind a blind of plastic plants," and "Subterranean by design" are lyrical interpolations of "The Boho Dance."
Joe: And we'd be remiss if we didn't mention the call back to A Tribe Called Quest's "Bonita Applebum." Let's listen.
🔊"Bonita Applebum"
Toby: Of course, P.M. Dawn spun this a bit to shout out the object of many a teenage boy's fantasy, Christina Applegate, who at the time was starring in the TV show "Married with Children."
🔊Christina Applegate
Joe: Side note, a random tidbit I found out when researching this episode: Christina Applegate was one of the founding members of The Pussycat Dolls. And speaking of dolls, P.M. Dawn went on to have more success with their next release, "Paper Dolls," which reached 28 on the Billboard Chart. Let's take a listen to a bit of that:
🔊"Paper Doll"
Toby: I remember buying this album and wondering how many times "paper doll" was said on this song. I mean he says it a lot!
Joe: Good news, I counted for you. He actually says it 100 times. There's only one other song that hit the top 40 that says it more and it's a song from one our past episodes. If you guessed MC Hammer and his song "Pray", you'd be correct.
Toby: If you guessed wrong, then we will be praying for you at the conclusion of this podcast. Joe, there's a funny thing happens after you get a little fame. People actually start listening to what you're saying on a variety of subjects.
Joe: Yes, I feel like this can be a good thing, or go south very quickly.
Toby: In order to tell this story I first need to say that it has to do with MC KRS–1 and for those that aren't familiar with KRS–1, KRS–1 stands for Knowledge Reigns Supreme Over Nearly Every 1, and is respected as being one of the major forces that forged hip hop into what it is today. This dude is from the Bronx and famously took on the entire borough of Brooklyn with the song "The Bridge is Over." Let's take a listen to that:
🔊"The Bridge is Over"
Toby: So the story goes that during an interview with the magazine, Details, Prince Be made the following statement about rap icon KRS–1. "KRS-One wants to be a teacher, but a teacher of what?"
Joe: OK, in the grand scheme of disses, this doesn't feel like it should even move the needle. It's kind of like saying, "I don't really understand your point, would you please explain it to me kind sir?" Alright Tobe, tell me the rest of the story.
Toby: Well I wasn't there but at the Sound Factory Nightclub a while later Kid Capri, well known NYC DJ, details what happened next. So P.M. Dawn comes on stage… it was [Prince Be] and [DJ Minutemix] in the booth, and it's three girls [doing background singing]…They let him do his first song. When the hit started, it was all bad, man. Yo, they rushed on the stage—Kris and the whole crew…Kris grabbed the mic from [Prince Be]. I.C.U. grabbed all the girls, hugged them and picked them up at the same time [and led them off stage]. When Kris grabbed the mic, Will' hit [Prince Be], which threw him off stage." While Kris led the charge, Kid says it was his affiliate's blow that sent Prince Be flying. However, it was a team effort. "Kenny [Parker] went in the [DJ] booth, threw the DJ out the booth. When the Kris threw them off stage [DJ Kenny Parker] threw on 'South Bronx.' It felt like the floor was gonna cave in. What was crazy was, when Kris left, Super Cat was supposed to be next. [However] when Kris left, the whole crowd [left and was] walking down the street with him. It looked like a video! Super Cat was on stage with nobody [left]. It was monumental!" Let's take a listen to another song by KRS–1 called "South Bronx" just for the heck of it…
🔊"South Bronx"
Joe: This is a classic case of not knowing your audience. Jeez this got way out of hand and quickly.
Toby: Thats hip hop! I just don't think that right questions were asked.
Joe: What do you mean?
Toby: Immediately after Prince Be made that statement, the interviewing journalist should have asked the question: "Prince Be… Can you Box?"
Joe: Luckily this incident didn't stop the hits from coming. P.M. Dawn got a chance to record a song for the movie Boomerang starring the one and only Eddie Murphy. This soundtrack had a number of hits to help it reach triple platinum status, including the P.M. Dawn track "I'd Die without You". Let's take a listen to that:
🔊"I'd Die Without You"
Toby: Actually one of my favorite tracks off of this soundtrack. Great track and in my opinion it showed the diversity of the group. The song was great and the movie was incredible. Can't tell you how many times I've seen it and been reminded the importance of making sure that my outfits coordinate.
Joe: That must explain why your shoe game is so on point. "I'd Die without You" peaked at # 3 on the charts. This song was also featured on their second album entitled "The Bliss Album…?," released on March 3, 1993. Another single from that album was a track called "Looking Through Patient Eyes" Let's take a listen to that:
🔊"Looking Through Patient Eyes"
Toby: Unfortunately this is when things start to take a downward slide. They got sued for allegedly using samples from a David Bastile and the Gladiator's track called "Funky Soul." P.M. Dawn and Island Records won the lawsuit, but their problems didn't stop there.
Joe: Right before they released their third album, DJ Minutemix was arrested for charges alleging that he had sex with a minor in 2005. The charges were eventually dropped due to lack of evidence but by that time he had parted ways with P.M. Dawn. He was replaced by the Cordes brother's paternal cousin Doc G. that same year.
Toby: As if that wasn't bad enough, several years later, Prince B suffered a stroke in 2005 that left him paralyzed the left side of his body. Unfortunately his health still continued to decline. Health complications led to Prince B dying in June of 2016.
Joe: Very sad, but at least the music lives on. In April of 2018 it was announced that a rapper by the name of K-ROK would join Doc G to continue the group.
Toby: So let me get this straight, we don't have either of the original members in the group now. Furthermore, they have redone several songs and they don't sound remotely close to the original. This ain't P.M. Dawn… this group should be called AM Dusk or something now.
Joe: Seriously. I'm just glad that we were able to get an original copy of their music. Alright Toby, time to get into this episode's bonus material. What do you say we dig into some funk and see how many times one of the drum breaks that was sampled for "Set Adrift on Memory Bliss" has been used by other artists?
Toby: I think you are referring to the 1974 track "Ashley's Roachclip" from the funk group The Soul Searchers. I'm not sure who Ashley was, but she should be happy to have been immortalized in this song. Let's listen to the drum break that appears at the 3 1/2 minute mark:
🔊"Ashley's Roachclip" Drum Break
Joe: That's every producer's dream, a clean drum break to lift and loop. Which would explain why it's appeared on over 400 tracks. Let's check out the diversity of songs that have sampled "Ashley's Roachclip."
Toby: First up is Erik B & Rakim's 1987 track "Paid in Full.""
🔊"Paid in Full"
Joe: How about a #1 one hit from across the pond? This is EMF with their 1991 smash hit, "Unbelievable."
🔊"Unbelievable"
Toby: Well I know that Lloyd sampled this break as a tribute to all the unbelievable girls that grace our planet. Let's listen to his track featuring Lil Wayne, "Girls Around the World."
🔊"Girls Around the World"
Joe: We can go old school again with some Geto Boys and their 1990 track "Scarface."
🔊"Scarface"
Toby: And we can go back to pop with the 1994 hit from Des'ree, "You Gotta Be."
🔊"You Gotta Be"
Joe: Alright Toby, we could literally spend the next several hours playing this game, but we are out of time. So I'll match your pop sample with one from some international superstars that ruled the pop charts during their heyday…
Toby: Ah, I bet you are going with Duran Duran and their use of the Ashley's Roachclip break on their song "Come Undone."
Joe: No my friend, though that is a good one! We are going to head to Germany to find our next sample. This is Milli Vanilli and their hit "Girl You Know It's True."
🔊"Girl You Know"
Toby: I'm going to pretend that you didn't play this just to torment me and instead were trying to bring this back around to tie into our first featured track, "True" from Spandau Ballet.
Joe: Tobe, you know it's true. And while this song takes me back, I wouldn't say it give me the same warm fuzzies as our other featured track, "Set Adrift on Memory Bliss" by P.M. Dawn. But that's enough trips down memory lane, let's look towards the future. What do we have lined up for our next episode?
Toby: We are going to head to Chicago, then maybe Brazil, and see what makes Mr. Worldwide such a Street Player.
Joe: Can't wait. Until then, we are going to take you out with a recent song that samples P.M. Dawn's "Set Adrift on Memory Bliss." This is Keyshia Cole featuring Remy Ma and French Montana and the song "You." As always, thanks for listening.
🔊"You"


text:
Raising awareness: being intersex in Mexico
Hana Aoi writes on the experience of living and being intersex in Mexico: from being the subject of medical interventions, to creating change.
Around my thirtieth birthday I ventured in search of answers about my body. Or, rather, it was only then that I did it with determination; it's impossible to pinpoint the exact moment of my life in which the doubts about my body, my identity and my past stacked up until I couldn't ignore them anymore. Maybe it was when I was a teenager and I started taking conjugated estrogens, not knowing what they were, without questioning their purpose; perhaps it was in anatomy class, when the professor told us about Klinefelter and Turner syndromes, and something sounded familiar to me. Maybe it was when I was eighteen and I hadn't menstruated yet; or when I started to desire intimacy but discovered an instinctive terror in my skin; it was not the lack of libido, that stopped me. A kind of reflective pain, a shivering twinge like those I felt in my infant body, when the scars of surgeries were still fresh in the flesh.
Before that final moment, I had asked a few questions. Not that I hadn't gotten answers at all. But they were perfunctory, and they were founded upon a rationalization that took me years to deconstruct: that I was born with a problem, and it had been corrected. Maybe that's why I hadn't inquired in any depth, until the need to know was greater than the fear in knowing. I think, in a way, I always knew what I was going to find. Even then, the word intersex meant nothing to me. Instead, every time I searched for the terms "vaginoplasty" and "ovotestis", a word came up that made me shiver: hermaphroditism. Today this feels different. Sometimes I feel how that term, although medically inaccurate, reverberates within me in all its mythological dimension, giving me strength. Not the myth collected by Ovid, but the myth of the androgyne, described by Plato. But at the time, the "h" word evoked in my mind images not as glamorous as the Borghese sculpture. I had feelings of confusion for the fantasies and desires I carried inside of me, of a sexual orientation that produced suffering not because I had it, but because I kept myself from fully living it, out of fear. Maybe this explained everything?
I appealed to the memories of members of my family, because the medical institution denied me access to my clinical file, claiming that the documents corresponding to the procedures performed in my childhood had been "disposed of" many years ago. My parents, seeing the agony consuming me, understood how crucial this information was to me. Although they took their time to open up about what they knew, it was thanks to them that I finally had all the necessary elements to understand the circumstances of my birth and the decisions that had been made. Of course, for me, it was not an immediate process either. Assimilating the facts, as well as their impact throughout my life, has been perhaps the most complex process that I have faced. Fortunately, I found support in my family, but also in a group of wonderful people I met; it was in 2014 that I discovered the Brújula Intersexual project, but it was a year later when I contacted Laura Inter, and from then on we exchanged messages, intermittent at first, due to the distrust I still felt about opening myself up to others, even to people who weren't going to judge me. Through the intersex adults support group, I learned the stories of other intersex people in Mexico and Latin America, where I found echoes of my own story. During that time, I began to assimilate that, in truth, there was nothing wrong with my body when I was born; that there were many people like me, who had been subjected to unnecessary surgeries, just so that our sex characteristics conformed to a notion based on prejudices about human sexuality. It was a long and tortuous period, but necessary, because I could no longer live with a lie about something so relevant to me. In the end, the truth had to come out.
Mexican society, unlike the great majority of the countries of the West, is a heterogeneous society. I am not referring here to the ethnic composition, but to the cultural diversity that daily coexists, which comes from the customs inherited from the specific syncretism of each region with the Western culture imposed during the Colonial period. There is not just one Mexico, but many, and that is tangible for anyone who has a deep contact with the country. It's a land with a vocation for diversity, even in relation to the subjects of sex and sexuality, despite the profound cultural and political influence of Christian doctrine and its institutions.
On the other hand, Mexico is also a country with marked social inequality, due in great part to ineffective economic policies undertaken by administrations since the 1970s. This inequality limits the access of a large majority of the population to opportunities and services. The federal and state governments still function as providers of a welfare state, constantly challenged by policies that dismantle and reduce the resources available to public institutions serving the bulk of the population. This includes health services. Eva Alcántara explains the subject with clarity:
In Mexico, a country full of contrasts, the health care system is a combination of public social security, public care services and private medical practice. In theory, a person can choose between some of these options, but in reality, a large part of the population goes to state institutions because they have no alternative, and yet almost always pay pre-established quotas according to various indicators that classify their economic possibilities. The country's poverty rates provide more than enough reason to have saturated public health institutions. (free translation from "Rompiendo fronteras: activismo intersex y redes transnacionales," in Los contornos del mundo, 2009, p. 133)
In the investigations of Eva Alcántara, as well as the testimonies of intersex people subject to interventions by medical institutions, it seems evident that third-level hospitals with intersex clinics[1] are few in number, and in great demand. In the case of private hospitals, even with technology and specialists, a protocol of care is rarely followed, such as those that public institutions have implemented since the late 1960s.
I was born in Mexico City in 1981. When my mother found out she was pregnant, and because she had a high-risk pregnancy, she went to the Mexican Social Security Institute (IMSS), to which my family was affiliated. Having a history of high-risk pregnancies, she attended the perinatology wing of the National Medical Center (now Siglo XXI Medical Center), where she gave birth to me. I was not "diagnosed" at birth – neonatal screening wasn't the protocol at the time – but months later, my mother returned with me because she noticed something atypical in my anatomy. Only then I was sent to La Raza Medical Center, home of an IMSS intersex clinic. From the age of six months to fourteen years, I went in and out of the facility several times each year for consultations, sampling and analysis, for odious inspections of my genitals, and three surgeries, without any justifying medical emergency; just for being born with variations of sex characteristics.
Although there are many people in Mexico and Latin America who, like me, were subjected to such medical protocol because of their intersex variation, this is not is the more typical experience in the region. In Mexico, not all intersex people are diagnosed and subjected to interventions by medical institutions. The common denominator of our experience is, in fact, to have grown up feeling alien in a society that values the existence of an unquestionable binary gender order, which still expects naively that the biological markers of sex are well determined and define an expected social and sexual behaviour. A supposedly immutable and inflexible biological order, as if nature worked that way. Most often than not this feeling can't be articulated in words, much less in a narrative: it may be that a person lacks of awareness of their history or past; it may be that the sociocultural determinants of the local environment limit the ability to speak of it; and considering the high level of social inequality and the fact that many people do not even complete basic education, it is also possible that they may not find the way or the means to express that experience in words. As Mauro Cabral has said, not all intersex people assume themselves as such; many live their lives as individuals with a well-assimilated gender identity within society, even when it is continually challenged by the reality of a body different from the stereotype; a corporality that the social imagination excludes from the possibility of a full and happy life, marked with the accusation of sin, of divine punishment, of abomination. These people can live a relatively quiet life, almost always under the condition of "keeping the secret", and which does not save them from enduring physical and psychological abuse.
Judgement sometimes begins in the family environment, before any surgery: fathers and mothers are the first to face the judgment of their relatives, friends and acquaintances, at least in their head; the fantasies that parents have about "what others will say" greatly condition their impulses and decisions in the first few days after the birth of the intersex baby. This is magnified in large sectors of Mexican society, terribly sexist, where being born with genital "ambiguity" is a tragedy with long-term repercussions in the upbringing of the infant, because it is not known "how will the child be raised". What social role will prevail, based on stereotypes of gender, over the individual's potential to aspire to full development and happiness. Under this atmosphere, homophobic and transphobic concerns and feelings arise, not knowing how to confront the possibility of a sexual orientation other than heterosexual, and a gender identity that may or may not conform to society's binary expectations. Questions that arise from the fantasy that the sex and sex characteristics of a newborn infant will definitively shape and determine these traits of the human being.
We can't overlook the discrimination suffered by intersex people in other areas. In 2012, a child with an intersex condition, from the state of Puebla, was stripped of his right to education by the authorities of the school he attended, who considered that it was not an adequate institution for the "problem" that the child presented. The "problem" was that his mother had requested a special permit so that his older brother, a pupil of the same school, could escort him to the bathroom to prevent aggressions from his classmates, since the child needed to sit in order to urinate. In the work environment, teasing, aggression and other types of abuse are present, not because a person is openly advertised as intersex, but because of the way the person is "read" by colleagues as unable to fulfil a stereotyped expectation of a gender role or gender expression, or simply by the androgyny of an intersex person. The above is exemplified in the testimony of Mar IS, from Intersex y Andrógino:[2]
You can perceive me in a wrong way very easily, it all depends on the prejudices of people. But the problem is not how they perceive me, the real problem is how these people act out their perceptions and prejudices […] In the course of my life I have experienced psychological violence and sometimes also physical violence, all as a result of the misperception of my gender identity or sexual preferences, and the social prejudices that exist against any person perceived as non-heterosexual or non-cisgender.
Until 2016, only the criminal code of Mexico City and 11 of the 32 states of the country defined hate crimes against the LGBTTTI (lesbian, gay, bisexual, transsexual, transgender, transvestite and intersex) population as aggravating circumstances in cases of homicide. On the other hand, CONAPRED and other state agencies deal with complaints of discrimination against all vulnerable groups in the population. This includes, in theory, the intersex population, however, people in these circumstances usually don't know how to address their complaints. This is a sign of an urgent need to seriously address intersex issues and to get political and social actors to understand the specific matters that people with variations of sex characteristics face regardless of whether or not they assume themselves to be intersex.
After several months of interacting with Laura Inter, one day I felt the impulse to help with translations and transcriptions from English to Spanish for the Brújula Intersexual website. At some point, motivated by the reading of those texts that I translated, and others that I found on the site, I decided to write my own testimony. It was a critical moment, because it meant revisiting my past, with months of reflection on what had been one of the hardest moments of my life. The response of the people in the support group was positive, reinforcing a sense of community that inspired me to start my own project, Vivir y Ser Intersex. And, without realizing it, I entered fully into intersex advocacy. It made sense: if not us, who else was going to do it? At the invitation of Laura, at the end of that year I participated in what was my first public event: a training event for CONAPRED staff and executives. I still remember that I was nervous when giving my testimony for the first time before a group of strangers. Today I treasure that moment. I would gladly do it a thousand times, even with trembling voice and shaking hands. It was one of the most liberating and instructive experiences of my life. I discovered that it is natural to feel fear when it comes to something so relevant; my body, in this case; nothing less.
Currently, the main focus of intersex activism in Mexico is to increase the visibility of intersex. However, it is not limited to that: the movement also works directly with intersex adults, providing a safe space to talk about what is not possible to speak about openly with others; and with parents, giving them advice to empower them and help them to engage in a dialogue with doctors.
Intersex activism in Mexico has also been able to impact other situations. Following the 2016 presidential initiative in favour of same-sex marriage, in February 2017 the federal Ministry of Health convened various social actors to draw up a medical health care protocol, free of discrimination, for people of sexual diversity. Together with Brújula Intersexual and Eva Alcántara – an immense ally of the movement – I had the opportunity to participate in the elaboration of recommendations to improve the first draft that, in the case of intersex care, still reflected a pathological medical practice based upon sex and gender stereotypes. The recommendations submitted were happily reflected in the final version published in June 2017.[3] The document raises doubts and concerns about the relevance of surgeries at an early age, and takes up statements such as the Yogyakarta Principles, the UN joint inter-agency document of 2014, and the 2017 public hearings of intersex people before IACHR. In a more pragmatic way, a call is made to respect the physical integrity, bodily autonomy and self-determination of intersex people, regardless of their age, which is derived from a recommendation to postpone surgeries and irreversible treatments until intersex people can participate in decision-making by themselves. Likewise, it states the need to guarantee the newborn's right to legal identity, without making this conditional on the practice of sex assignment surgeries.
Looking in perspective, I think about the consequences of the decisions that were made about my body. I wonder how different my life would be if I had been able to choose. It is a difficult question, because circumstances did not facilitate it. But knowing this changes everything. Every day I think about this, and about many other things: about what I can do so that my story is not repeated on other people. A thought comforts me: I am not alone. We are many. And here we are.
– Hana Aoi, Vivir y Ser Intersex (Living and Being Intersex)
[1] In Llamado Intersexual (2012), Eva Alcántara, citing Esmer, Castillo and Calzada (2000), describes an intersex clinic as a workgroup made up mostly by medical specialists who meet at a specific place and time, in charge of "discussing issues and making decisions concerning intersex patients." (free translation)
[2] "¿Cómo es que la homofobia y transfobia afecta a las personas intersex y andróginas", by Mar IS. Intersex y Andrógino <https://intersexyandrogino.wordpress.com/2017/09/29/como-es-que-la-homofobia-y-transfobia-afecta-a-las-personas-intersex-y-androginas/> (consulted in October 6, 2017)
[3] This protocol, published in Spanish, can be found at the following link: https://www.gob.mx/cms/uploads/attachment/file/233408/210617Protocolo_Comunidad_LGBTTI_DT_Versi_n_III_17_3.pdf. I suggest reading the definition given to the term "sex" (pp. 21-22), and Guía de Recomendaciones para la Atención Médica de Intersexualidad y Variación en la Diferenciación Sexual (Recommendations Guide for Health Care of intersex and variations in sex differentiation, pp. 36-42).
2017 Comment Latin America North America


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It does not matter if you need to lose 10 pounds or run a marathon, fitness needs to be an important component of your life. The only problem people have with getting into shape is that they don't know how to.
If you are just starting a workout routine you should consider a one time consultation with one of the gym's personal trainers. He or she can show you how to use equipment properly, and can also help you to make a fitness plan. Working out in a gym when you haven't done so before can be scary, so let someone know knows his way around a gym guide you. You will be on your way to a great start to a plan you can stick to.
Keep your workout routines interesting by changing it up occasionally. If you usually exercise indoors, try playing basketball or walking outside. Walking outside is much different with the hills and the sidewalk. When exercise is varied, it is harder for the body to plateau, so weight loss can continue.
Don't be scared. An alternative to the normal fitness regimes is biking. Riding your bike to work each morning will not only save you money on gas, but it is a great way to get in a workout every day. If you are close to your workplace, your half-hour bicycle commute can burn up calories both to and from work.
When you are first starting a weight-lifting regimen, begin with lighter weights. Because these small muscles tire before the large ones, it is logical to work with dumbbells, barbells and other small weights before moving on to the larger machines. In this way, your smaller muscles can get a break while you are working out your larger muscles.
Always exhale after each repetition. This will allow the body to intake more air, which will help raise your energy levels.
Tennis players know how to get strong forearms; read on for one of their tips. Take some newspaper and place it flat on a table or other convenient surface. Crumple up the paper using only your dominant hand for 30 seconds. After repeating this exercise twice, switch hands and perform the same action once, then twice more with your dominant hand.
You can enhance your workouts effectively by learning how to control your breathing properly. When you are working out your abdominal area with sit-ups or crunches, try to breathe out with force when your shoulders reach the highest point from the floor. If you contract your abs when you exhale, you will get a stronger workout.
Sprinting requires that you run fast, not just by getting faster, but by perfecting your stride. To be sure of this, don't land with your feet in front of your body. Use your toes to push off through your rear leg in order to get you moving forward. You will need to practice this procedure, but you will gradually increase your running speed.
If watching TV makes you feel guilty, use this tip to catch a little exercise while viewing. By exercising during the breaks of your show, you can make a significant impact on your physical fitness.
Doing box squats can help you add size to and strengthen your quadriceps. Box squats are highly beneficial and will increase the power of your workout session. If you find a sturdy box to exercise with, you can do box squats. The only difference between box and regular squats is you pause while sitting on the box.
Do your counting in reverse. Instead of counting towards your desired number of repetitions, start at the end and work backwards. It can make workout sessions seem easier and shorter since you're seeing them in smaller amounts. Telling yourself you only have so many more is much more motivating.
Now that you've reached the end of this article, you are prepared to take the steps necessary to achieve fitness. With the right motivation and proper techniques, nothing should stop you from getting into shape. You'll soon notice the appearance of long lasting benefits.
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95 open access dissertations and theses found for:
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Developmental Neurotoxicity of Persistent Organic Pollutants
by Chen, Hao, Ph.D. University of California, Davis. 2016: 206 pages; 10250153.
CXCR4 Gradient Sensing Reveals a Novel Link Between PI3K Cell Motility Pathways and p53 Cell Cycle Arrest Pathways
by Winant, Bryce, M.S. University of the Sciences in Philadelphia. 2016: 105 pages; 10169472.
Single cell interferon beta response variation with virus infection
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Regulation of protein phosphatase 2A by proteasomal degradation
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Characterization of Novel Molecular Scaffolds for Cannabinoid Receptor Ligands: Implications for Drug Development
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Changes in the peritubular capillary microenvironment mediate sepsis-induced renal microcirculatory failure and tubular cell injury
by Wang, Zhen, Ph.D. University of Arkansas for Medical Sciences. 2012: 210 pages; 3511547.
A Comparison of the Cytotoxicity of 3-(3,5-Dichlorophenyl)-2,4-thiazolidinedione (DCPT) in HepG2 and MDCK Cells
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Role of estrogen and estrogen analogues in Friedreich's ataxia cytoprotection
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A preclinical evaluation of the polyphenol resveratrol during sepsis-induced acute renal injury
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Contribution of AT1R Mechanoactivation to the Arterial Myogenic Response and Its Regulation by RGS5 Protein in Skeletal Muscle Arterioles
by Hong, Kwangseok, Ph.D. University of Missouri - Columbia. 2015: 239 pages; 13869878.
Systematic analysis of essential genes reveals new regulators of G protein signaling
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The modulation of the mesolimbic and nigrostriatal dopamine pathways by CXCL12 and CXCR4
by Trecki, Jordan, Ph.D. Temple University. 2009: 148 pages; 3372008.
Functional Effects of a Neuromelanin Analog on Dopaminergic Neurons in 3D Cell Culture: Biomaterials for Modeling Neurodegenerative Disease
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Hepatic stress response mechanisms in progressive human nonalcoholic fatty liver disease
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Cannabinoid Regulation of Serotonin 2A (5-HT2A) Receptor Signaling
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The role of the intermediate and deep layers of the superior colliculus in the control of posture and movement in the nonhuman primate
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Detection and characterization of early-phase experimental radiation-induced heart disease
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New Congenital Mouse Model to Study Laminin Protein Therapy for Muscular Dystrophy
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The Role of the Protein Phosphatase 1 Inhibitor-1 In Regulation of Murine Cardiac Physiology and Progression of Cardiomyopathy
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Awakening a Dormant Receptor
by Brackley, Allison Doyle, Ph.D. The University of Texas Health Science Center at San Antonio. 2017: 262 pages; 10269479.
Structure Activity Relationship (SAR) of Quinazoline Derivatives on GABAA Receptors
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Neuroimmune Regulation of γ-Aminobutyric Acid Type A Receptor (GABAAR) by Interleukin 10 (IL-10)
by Altowairqi, Ebtehal, M.S. University of the Sciences in Philadelphia. 2018: 65 pages; 13850224.
CAPER as a Novel Therapeutic Target in NSCLC Adenocarcinoma
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Mechanisms of mu opioid receptor mediated protection from multiple models of acute injury
by Goldsmith, Jason Rosenbaum, Ph.D. The University of North Carolina at Chapel Hill. 2012: 235 pages; 3526124.
Inflammatory responses to Alternaria in airway epithelial cells: Cytokine expression pattern and the role of proteases
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Phospholipase D1 Ablation Suppresses Neoangiogenesis and Metastasis in Breast Cancer
by Cavallo-Fleming, Julie-Ann, Ph.D. State University of New York at Stony Brook. 2016: 202 pages; 10192945.
Targeting K-Ras, Pak-1, and Mcl-1 for the Treatment of Cancer
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American official war artists
American official war artists have been part of the American military since 1917. Artists are unlike the objective camera lens which records only a single instant and no more. The war artist captures instantaneous action and conflates earlier moments of the same scene within one compelling image.[1]
" "We're not here to do poster art or recruiting posters... What we are sent to do is to go to the experience, see what is really there and document it—as artists."
— Sgt. Kristopher Battles, USMC.[2]
3 Select artists
3.1 World War I
3.3 Vietnam Era
3.3.1 Soldier Artist Participants in the U. S. Army Vietnam Combat Artists Program
3.4 Recent conflicts
In World War I, eight artists commissioned as captains in the U.S. Corps of Engineers. These men were sent to Europe to record the activities of the American Expeditionary Forces.[3]
In 1941, the Navy Combat Art Program was founded in order to ensure that competent artists would be present at the scene of history-making events. Eight active duty artists developed a record of all phases of World War II; and all major naval operations have been depicted by Navy artists. During the Korean War, the program was revived with two military artists in combat contexts. Since then, artists have been sent to other combat zones, including the Persian Gulf.[1]
The U.S. Army War Art Unit was established in late 1942; and by the spring of 1943, 42 artists were selected. In May 1943, Congress withdrew funding the unit was inactivated.[3]
The Army's Vietnam Combat Art Program was started in 1966. Teams of soldier-artists created pictorial accounts and interpretations for the annals of army military history. These teams of five soldier-artists typically spent 60 days of temporary duty (TDY) in Vietnam embedded with various units. The U. S. Army Center of Military History (CMH) currently includes an Army Art Collection with about 40 representative war artists.[4]
In 1992, the Army Staff Artist Program was attached to the United States Army Center of Military History. Army artists are a permanent part of the Museum Division's Collections Branch.[3]
There are significant differences in the artwork created by the branches of the U.S. military:
" ""When you go over to the Air Force, the art is all airplanes. In the Navy, it's all ships. Army art tends to be more about the battle, and the Army loves trucks. They're fixated on vehicles. But the Marine Corps is fixated on Marines."
— Anita Blair, chief strategist at the National Security Professional Development Integration Office.[2]
Rice distribution at Carrefour in Haiti after the earthquake in 2010. Oil sketch by Sgt. Kristopher Battles, USMC
Military art and the work of American military artists includes both peacetime and wartime. For example, USMC combat artist Kristopher Battles deployed with American forces in Haiti to provide humanitarian relief as part of Operation Unified Response after the disastrous earthquake in 2010.[5]
This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries.
William James Aylward[6]
Walter Jack Duncan[6]
Harvey Thomas Dunn[6]
Kerr Eby Marines
George Matthews Harding[6]
Wallace Morgan[6]
Ernest Clifford Peixotto[7]
J. Andre Smith.[7]
Don Troiani (born 1949)
Harry Everett Townsend, Army.[7]
Claggett Wilson Army
McClelland Barclay, 1891–1942[8]
George Biddle, 1885–1973
Franklin Boggs, 1914-2009[9]
Aaron Bohrod, 1907–1992[10]
Howard Brodie, 1915–2010[11]
Manuel Bromberg, 1917–[12]
Jack Coggins, 1914–2006[10]
John Steuart Curry, 1897–1946, for information about his war art, see his artwork page[13]
Olin Dows, 1904–1981[14]
Edward Dugmore, 1915–1996[10]
William Franklin Draper, 1912–2003[15]
Nathan Glick, 1912–2002[16]
Albert A Gold, 1916-2006[17]
Mitchell Jamieson, 1915–1976[18]
Joe Jones, 1909–1963[19]
Yasuo Kuniyoshi, 1893–1953
Warren Leopold, 1920–1998
Roger Lewis, 1918-2006[20]
Ludwig Mactarian, 1908–1955[21]
John McDermott, 1919–1977[22]
Barse Miller, 1904-1973[20]
John Cullen Murphy, 1919–2004[10]
Albert K. Murray, 1906–1992
Henry Varnum Poor, 1887–1970
Dwight Shepler, 1905–1974
Mitchell Siporin, 1910–1976
Sidney Simon, 1917-1997[23] aka. Sid Simon,[20]
Standish Backus, 1910–1989
Don Troiani, born 1949
Frede Vidar, 1911-1967[20]
Taro Yashima, 1908–1994
Vietnam Era
Soldier Artist Participants in the U. S. Army Vietnam Combat Artists Program
CAT I, 15 Aug - 15 Dec 1966, Roger A. Blum (Stillwell, KS), Robert C. Knight (Newark, NJ), Ronald E. Pepin (East Hartford, CT), Paul Rickert (Philadelphia, PA), Felix R. Sanchez (Fort Madison, IA), John O. Wehrle (Dallas, TX), and supervisor, Frank M. Sherman.
CAT II, 15 Oct 1966 - 15 Feb 1967, Augustine G. Acuna (Monterey, CA), Alexander A. Bogdanovich (Chicago, IL), Theodore E. Drendel (Naperville, IL), David M. Lavender (Houston, TX), Gary W. Porter (El Cajon, CA), and supervisor, Carolyn M. O'Brien.
CAT III, 16 Feb - 17 June 1967, Michael R. Crook (Sierra Madre, CA), Dennis O. McGee (Castro Valley, CA), Robert T. Myers (White Sands Missile Range, NM), Kenneth J. Scowcroft (Manassas, VA), Stephen H. Sheldon (Los Angeles, CA), and supervisor, C. Bruce Smyser.
CAT IV, 15 Aug - 31 Dec 1967, Samuel E. Alexander (Philadelphia, MS), Daniel T. Lopez (Fresno, CA), Burdell Moody (Mesa, AZ), James R. Pollock (Pollock, SD), Ronald A. Wilson (Alhambra, CA), and technical supervisor, Frank M. Thomas.
CAT V, 1 Nov 1967 - 15 March 1968, Warren W. Buchanan (Kansas City, MO), Philip V. Garner (Dearborn, MI), Phillip W. Jones (Greensboro, NC), Don R. Schol (Denton, TX), John R. Strong (Kanehoe, HI), and technical supervisor, Frank M. Thomas.
CAT VI, 1 Feb - 15 June 1968, Robert T. Coleman (Grand Rapids, MI), David N. Fairrington (Oakland, CA), John D. Kurtz IV (Wilmington, DE), Kenneth T. McDaniel (Paris, TN), Michael P. Pala (Bridgeport, CT).
CAT VII, 15 Aug - 31 Dec 1968, Brian H. Clark (Huntington, NY), William E. Flaherty Jr. (Louisville, KY), William C. Harrington (Terre Haute, IN), Barry W. Johnston (Huntsville, AL), Stephen H. Randall (Des Moines, IA), and supervisor, Fitzallen N. Yow.
CAT VIII, 1 Feb - 15 June 1969, Edward J. Bowen (Carona Del Mar, CA), James R. Drake (Colorado Springs, CO), Roman Rakowsky (Cleveland, OH), Victory V. Reynolds (Idaho Falls, ID), Thomas B. Schubert (Chicago, IL), and supervisor, Fred B. Engel.
CAT IX, 1 Sept 1969 - 14 Jan 1970, David E. Graves (Lawrence, KS), James S. Hardy (Coronado, CA), William R. Hoettels (San Antonio, TX), Bruce N. Rigby (Dekalb, IL), Craig L. Stewart (Laurel, MD), and supervisor, Edward C. Williams.
Recent conflicts
Kristopher Battles
Henry Casselli
Michael D. Fay
United States Army Art Program
Vietnam Combat Artists Program
United States Air Force Art Program
^ a b Naval History & Heritage Command (NHHC), Navy Combat Art Program Archived 2012-06-14 at the Wayback Machine
^ a b Kino, Carol. "With Sketchpads and Guns, Semper Fi"; "Marine Art," New York Times. July 13, 2010.
^ a b c United States Army Center of Military History (CMH), Army Art Program History.
^ U.S. Army Vietnam Combat Art Program
^ Sketchpad Warrior blog, "It's All in the Wrist," May 25, 2010.
^ a b c d e CMH, artists, p. 1.
^ a b c CMH, artists, p. 2.
^ NHHC, McClelland Barclay, Naval Art Collection. Archived 2006-04-14 at the Wayback Machine
^ "Artist, Teacher, and Innovator Franklin Boggs". Beloit College Magazine. Beloit, Wisconsin: Beloit College (240622). Spring 2010. Retrieved 7 May 2016.
^ a b c d Brown University Library, American war artists
^ PBS. They Drew Fire: Combat Artists of World War II, Howard Brodie. 1st broadcast, May 2000.
^ "18 Mar 1945, 109 - The San Francisco Examiner at Newspapers.com". Newspapers.com. Retrieved 2019-03-25.
^ James M. Myers, "CAMP BARKELEY," Handbook of Texas Online (http://www.tshaonline.org/handbook/online/articles/qbc02), Uploaded on June 12, 2010. Published by the Texas State Historical Association.
^ CMH, Olin Dows
^ NHHC, William Franklin Draper, Naval Art Collection; PBS. They Drew Fire, William Draper.
^ "31 Aug 1949, Page 4 - The Mercury at Newspapers.com". Newspapers.com. Retrieved 2019-03-26.
^ "13 Mar 1947, Page 26 - The Indiana Gazette at Newspapers.com". Newspapers.com. Retrieved 2019-03-24.
^ "21 Mar 1950, 9 - The Lincoln Star at Newspapers.com". Newspapers.com. Retrieved 2019-03-24.
^ Harrington, Peter, "The 1943 War Art Program," Army History, No. 55, Spring-Summer 2002, pp. 4-19.
^ a b c d "7 Nov 1949, 11 - The Tampa Tribune at Newspapers.com". Newspapers.com. Retrieved 2019-03-23.
^ "Artist Ludwig Mactarian conveyed the grit of a combat engineer's life", The Washington Post, Jan 26, 2014. https://www.washingtonpost.com/opinions/artist-ludwig-mactarian-conveyed-the-grit-of-a-combat-engineers-life/2014/01/26/710283fc-8367-11e3-a273-6ffd9cf9f4ba_story.html retvd 6 6 15
^ Heim, Gordon H. (2005). "The Art of John R. McDermott" (PDF). Fortitudine. XXXI (4): 13–14. [permanent dead link]
^ "Sidney Simon", Wikipedia, 2019-06-13, retrieved 2019-06-13
McCloskey, Barbara. (2005). Artists of World War II. Westport: Greenwood Press. ISBN 978-0-313-32153-5; OCLC 475496457
Gallatin, Albert Eugene. Art and the Great War. (New York: E.P. Dutton, 1919).
Cornebise, Alfred. Art from the trenches: America's uniformed artists in World War I. (A & M University Press, 1991).
Harrington, Peter, and Frederic A. Sharf. "A Splendid Little War". The Spanish–American War, 1898: The Artists' Perspective. (London: Greenhill, 1998). ISBN 1-85367-316-1
Retrieved from "https://en.wikipedia.org/w/index.php?title=American_official_war_artists&oldid=929655650"
Lists of war artists
Media of the military of the United States
Military history of the United States
American war artists


All candidates must meet one of the following basic requirements for accountant positions: 1. A degree from an accredited college or university in accounting and/or auditing or in a related field such as business administration, finance, or public administration that included or was supplemented by 24 semester hours in accounting. May include up to 6 hours of credit in business law. 2. A combination of education and experience - 4 yrs of experience in accounting or a combination of accounting experience, college level education, and training and one of following: 1) 24 semester hrs. in appropriate accounting or auditing courses (can include 6 hrs. of business law); 2) certificate as a Certified Public Acct. or a Certified Internal Auditor, from a written exam; 3) degree that included substantial accounting/auditing courses, (15 sem. hrs.), but less than 24 semester hours.
In addition to meeting the basic qualification requirement described above, candidates at the GS-14 level must have one year of specialized experience equivalent to the GS-13 level in the Federal service. Examples of specialized experience are: utilizing project management principles and best practices to support financial system designs, implementations, enhancements, maintenance and other financial system initiatives; performing business process and system analysis to make recommendations for financial system and business improvements; analyzing reporting requirements; analyzing and interpreting data to ensure data quality and integrity; providing technical and professional accounting advice on accounting and financial systems.


Based in Belfast's famous Titanic Quarter, HMS Caroline is a First World War-era naval ship now restored as a must-see floating museum with an amazing story to tell.
Enjoy our new quayside visitor centre dedicated to telling the personal stories of those who served on the 'Carry'. Then step aboard to see a powerful film on the drama of Jutland and experience impressively restored cabins and deck areas as well as an array of state-of-the-art interactive exhibits.


Vice president Osinbajo visits Kastina state , commiserates with flood victims – Royal Times of Nigeria.
Emergency services in Nigeria says flooding caused by torrential rains on Nigeria's border with Niger has left more than 52 people dead and another 20 missing in Katsina State. According to emergency agency ,the actual numbers of casualties may never be known because of the time the downpour and flooding occurred.
Meanwhile ,the official death toll rose from 44 on Monday just as the vice president, Professor Yemi Osinbajo, visited the scene on Tuesday to commiserate with victims of the Jibia natural disaster that also destroyed about 500 houses and more than 5,000 people rendered homeless.
A resident, who gave his name as Balarabe Yusufu, said many people were actually swept away by the flood, which occurred between 11:00p.m. on Sunday and 4:00a.m. on Monday. The Vice President, who paid a condolence visit to the state said government will collaborate with the state and National Emergency Management Agency (NEMA) to compensate the victims.


However, I definitely don't recommend just going out into the forest alone in search of berries you are unfamiliar with. Most cities have ecological groups with many knowledgeable individuals who can help you identify which plants can be picked and which ones should be avoided. And if you don't have access to sea-buckthorn berries, feel free to substitute another berry you have on hand – raspberries from the farmers market would work great. Do you guys have any other substitutions to try?
Regardless of whether you forage for berries in the forest or your supermarket, it's nice to simply take a bit of time to appreciate what our surroundings have to offer. It's easy to forget that not so long ago, people survived by gathering their food themselves, having to know what they could and could not eat. I hope this encourages a few of you to find out a little more about the fruits and berries growing and available in your region.
Place sea-buckthorn berries in a tea press and use a wooden spoon to press and break apart, releasing the juices.
Add green tea and cover with hot water. Add honey to taste.
Steep for 2 - 5 minutes.