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"None of This Means Anything if You Can't Bring Other People Along:" Dean Linda Burton on Leadership, Scholarship, and Shaping the Discourse
Linda Burton begins her term as dean of Berkeley Social Welfare on September 1. She brings a wealth of experience to the role, having served as the James B. Duke Professor of Sociology, and previously dean of Social Sciences and director of the Center for Child and Family Policy at Duke University. She also brings a multi-decade reputation as a preeminent scholar on child welfare and poverty. We sat down to talk with her about her prior roles, her scholarship, and her plans for the School of Social Welfare at Berkeley.
You bring an impressive amount of leadership experience to this role: you have served as Dean of the Social Sciences Division at Trinity College at Duke, as the director of the Center for Family and Child Policy at Duke, and as leader of a number of large-scale studies. Could you talk about the highlights of some of those experiences?
Let me go back a couple of decades before some of those opportunities came along, because leadership started for me really early in my career, and it wasn't something that I expected. Leadership in some respects found me. I started my first position at Penn State in 1984, a newly-minted PhD with four young kids, all under the age of eight. Now when you start a tenure-track position with young kids, your eyes are squarely focused on getting tenure. But although I had to focus on these particular elements, I wasn't able to limit my efforts to that narrow view of just getting tenure. Back in the early 1980s, institutions were opening up their doors a little bit more in terms of the need for having minority faculty, and what came along with that is that as a scholar of color, you sort of get pinpointed early on to do lots of things that you're not necessarily prepared for. I was fortunate enough to get a tenure-track position and that put me in a space where not only my peers, but faculty of color that were much more senior to me other institutions thought "She's at Penn State, so she knows how to do this." So they started calling. Let me add parenthetically that the first quality any mentor should have is a willingness to admit their limitations, both to themselves and to anyone they're mentoring. You have to understand yourself, and you want your mentee to understand that just because you are a mentor, that doesn't make you an absolute expert.
But nonetheless, people kept calling. So if you're put in this leadership position, what do you do? Do you say, "No, I'm going to just focus on what I need to focus on," or do you share the knowledge that you've gained? You know, none of this means anything if you can't bring other people along or share what you know, or help them to build their careers. So my leadership actually started early on with mentorship. I was mentoring not only people who were my same rank, or postdocs and graduate students coming behind me, but also people that were senior to me. And of course I still had to stay focused on the tenure process, but I found that it sparked a little bit more creativity on my part because I said, "How can I continue to mentor, which is just part of my soul, and also do the other stuff that I need to do?" So then you start getting creative and you figure out how to lead, but get your own work done as well. In my second year as an assistant professor at Penn State, I thought, "In about five years, they're going to be writing letters out to people that I don't even know and asking them to evaluate me for tenure. I have four young kids and I'm a single mom, but these people need to know my work. So what is the best way to accomplish that?" I decided to ask my senior colleagues to help me meet other senior folks of color that worked in my field and organize a national conference on Black families. So instead of going to everybody else, I brought them to Penn State and got to know everybody all at one time. When I went to the Provost's office, he kind of giggled, and said "If you're bold enough to come to the provost as a second-year assistant professor and ask for money for top brass, I'm going to give it to you."
Doing those kinds of things leads you to develop other kinds of alternatives for how you move through the world and how you move through the academy, which I think ultimately adds to your leadership acumen. You just become very nimble: you have to know when to toe the line but you have to also know when to be flexible and look at alternatives.
Your early work focused on gerontology and then over the course of your career, you've kind of worked in reverse chronological order: from old age to middle age, to early adulthood, to adolescence, to childhood. What led you to pursue this kind of "Benjamin Button" approach to the life course, and how it does intersect with the emphasis on family relationships and family role transitions in your research?
At every step of the way, I made sure I listened to what people were telling me, and they would always refer back to their history. Their narrative began long before I got a chance to meet them. For elderly people, I was seeing where they had arrived, but not fully understanding how they actually got there, and more importantly, how historical context made a difference in how they got there. Moving backwards, you get a chance to see some of the common features that people — have regardless of when they were born — in terms of the human need for connection, and love, and being wanted, and having purpose in life. Those threads go through whatever generation you're in, but people have different chances based on when they come along and what kind of historical situations they experience at a given time.
I started out studying the early transition to grandmotherhood, working with grandmothers in their mid-twenties. I would see these very compressed generations, where a young girl would have a child at age 13 so her mother becomes a grandmother at 27 and her mother's mother then becomes a great-grandmother at 40. One of the patterns that emerged was a skipped generation of parenting. So the 27-year-old grandmother/mother and 13-year-old daughter behaved more like siblings to one another than like mother and daughter. What happens is that when this 13-year-old has a child, that is oftentimes the first time her mother has a chance to raise a child, because the child of a teenage mother is so often raised by the grandmother since the mother's age simply doesn't provide her with the experience to be able to raise a child. When you move backwards chronologically, you understand how the generations work because you see the different experiences they have and you see the different choices they make.
You have mentioned that earlier in your career, the terminology around family structures and generational transitions — the lens through which these structures are viewed — didn't match what you were seeing. How has the terminology evolved? And how have you helped shift that discourse?
I explored that issue in an essay co-authored with [professor emerita] Carol Stack, who was chair of women's studies at Berkeley and who has been my mentor since forever. When we met in the mid-1980s, we both struggled with how to present our work. For me it was mostly from the perspective that I was African American studying African American families at a time when scholars in the field, who were mostly White males, often assumed I had an intrinsic bias. And because the legacy of the Moynihan report lived on into the 80s, poverty was highly politicized. When I was a new-minted PhD I had this conversation with Carol Stack about how people would either write about Black families in the deficit-based language that came from the Moynihan report, or with a very romanticized notion of "kin taking care of kin." But we all know that no matter how close families are, there is inevitably some conflict and some negotiation. So I pushed for middle-ground language to say, you know, there's some good things about these family structures and dynamics, but there are some tough things too. And if we want to move forward, especially with poverty, the discourse has to acknowledge both. It can't be deficit-based because that's dehumanizing to people, and it can't be romanticized either. Yes, "Black families take care of their own," but so do White families, Latino families, etc. And the other part of "kin taking care of kin" is that is it's not all roses: there are some trade-offs that come along when you have limited resources that can be distributed across multiple generations. So we needed to shift the discourse to find out how those resources are distributed and where social services can help when needed. That's a different approach to take in studying family structure, and ultimately a more productive one.
You have described your research methodology as "slow ethnography." Could you say more about that, not only in terms of the insights into the differences between how people represent their lives versus how they live them, but also in terms of the strengths of an ethnographic approach in studying social welfare?
The real strength of an ethnographic approach is that you have the opportunity to compare what people say to what they actually do. You don't necessarily get a chance to do that in survey research because you see a person one time and ask them your series of questions, but when you see them over time you see how consistent their behaviors actually are with what they say. I trust that level of gathering observations so much more because in a way, ethnography is like dating someone. We know that when people meet each other for the first time they send their representative... they send the person that they want the other person to believe in. If the relationship blossoms then you find out four or five months later that things might be might be a little different. And that's oftentimes what I would find in doing ethnography. I had to be able to distinguish whether or not they had sent their representative initially, and whether the person I saw in the fourth month was who they really are or their representative. You also have to pay attention to whether or not that person is actually making change. If someone is different in month one versus month five, I get to see if they're engaged with any social service agencies, or if someone has picked them up as a mentor, or if something traumatic has happened in their lives to change them one way or another. This allows you to see the difference between state and trait, which simply doesn't come across in the same way in other contexts.
For the ethnographic component of the Three Cities study, which aimed to study the impact of welfare reform, we had 256 families — African American, White, and Latino — and we followed them for seven years. We got in the weeds with these families, traversing all these different environments and seeing how they responded to different environments and how different environments responded to them. We were psychologically and physically present with families. We were there with them at midnight, we went to the doctor with them, went to funerals, went to weddings, all those kinds of things. That kind of science really gives you the opportunity to compare what people say to what they actually do. That's where the best lessons are learned because you get a chance to look at the consistency between their words and their actions, and how it plays itself out in terms of the outcomes you see in families.
It takes a while for people to get to trust you. It depends on what personal situations they're in, especially if we take the case of domestic violence and sexual abuse. And I have to say: if America could deal with that issue seriously -- I'm not saying that no attention has been given to it, but it needs more attention than it's given because its effect is so traumatic, and it's so long lasting — if we actually dealt with that, we could probably fix 50 to 60% of what's going on with people having difficulty moving forward and being successful through life, because it has such a dramatic effect.
What are you most looking forward to as you begin your tenure here at Berkeley Social Welfare?
My first steps are going to revolve around doing a listening tour with the faculty, the staff and the students to get to know what people's different passions are, what their visions for the school might be, what they see are the strengths and the areas that we need to build on.
Taking all those into account, I think that I would like to work together with everyone at a community level in two ways. First of all, strengthening our ties with the local community because there is such a need — at least from what I can see — in the East Bay and the Bay Area in general. The School of Social Welfare has a footprint there, but there's always more that can be done in terms of making sure that we are true partners with folks in the community, and that we go at that not by inviting folks to our table, but by encouraging them to invite us to have a seat at their table so that we work from the place that's most important to them.
Secondly, we need to consider which major social issues are going to be most relevant to our expertise in the near future and beyond. As researchers and practitioners we have a lot of expertise to offer on issues of mental health, or on the societal impacts of shifts in immigration policy, especially as it relates to families and children. The prison-industrial complex is another major social justice issue. We already have some sense of what that has meant for the incarceration of individuals of color — mostly African American and Latino males — in proportion to their representation in the population, but what about women, and what are the implications for families and children as we move forward? What role can Berkeley Social Welfare play in informing and shaping the national conversation and shaping policy around these important issues?
I have also had dreams of building a brain trust or an innovation center. I'm an interdisciplinary thinker by nature, not only with respect to standard disciplines like psychology, sociology and economics, for example, but also practice and clinical work. How do we continue to bring people together in a fashion where the whole comes up with a better solution than the parts would have if they worked in silos? So we want to continue to foster interdisciplinary work, continuing to bring the brightest students, the brightest faculty and staff. And when I say bright I'm not only talking about book smarts, but life smarts as well.
Working as a Berkeley Social Welfare community, I also would like to increase the involvement of our alumni in charting the future of the school and in mentoring our undergraduate and graduate students in ways that create a pipeline of well-trained, connected social welfare professionals who are poised for leadership in the field. I would also like to see us engage in more active and sustained collaborations with other professional schools and departments on campus to address the most difficult challenges children and families face in the U.S. and globally. In my way of thinking about these issues, interdisciplinary research and practice are synonymous with innovation and generating creative solutions to difficult problems. It can often be game-changing. Lastly, I would like us to create more opportunities for the voices of children to be heard as we consider the factors that most affect their lives. I hope to develop an advisory board of middle- and high-school students who share with us their views on what matters most in their lives.
What do you see as the impact of Berkeley Social Welfare?
In terms of our impact on individuals, as a field and as a profession we and our sister schools of social welfare enable people to live their lives to the fullest possible extent: to stay in your home as long as you can as an elderly person, to keep you out of an institution and living a healthy life if you have mental health issues or other health issues, to enable children and families to really flourish in the face of trauma. We are deeply invested in humans in really important ways; we are here to help people navigate life and improve their quality of life.
In terms of our impact on policy, we're a central cog in the wheel. We're well-poised to help shape the discourse that's going on nationally, and it's only through shaping the discourse that we will see change and cultural change. And I've noticed that people — even policymakers, in some cases — are not well-informed about what the implications of social policy are and how they might be impacting their lives. But we at the School of Social Welfare — as professionals and as caring human beings — are well-poised to inform and lead that discourse and help people to interpret what they're hearing in the media, in policy briefs, and within communities.


The Mercedes-Benz is a natural born muse, and here are the times it inspired artists to create masterpieces.
Shown during the Tokyo auto show are these two Mercedes-Benz covered in Swarovski crystals. Garson, a car accessory company, fitted 300,000 crystals shaped like diamonds onto these two SL600s: one gold and one silver. The 4.8 million car was rumored to belong to Prince Alwaleed Bin Talal, but since been denied by his private office and called an urban legend.
>>Join the conversation about Mercedes Benz art cars right here in the forum.
While not driveable like the bling-bling before it, it is a life-sized replica of a Mercedes-Benz that weighs 6.5 tons and costs 600,000 Yuan. Chinese artist Dai Yun was commissioned to build a sculpture for the Red Town Creative Park in Shanghai. Using only a photograph, he was able to make the car out of bricks, cement and steel. Even the interior is well-detailed, which you can sit in.
The 1955 Mercedes 300 SLR was never mass-produced because it was simply too fast. The car was tested to go up to 180 mph, which would have been the fastest car at the time. Three German friends and obvious artists, Armin Ciesielski, Peter Brakel and Walter Willer, created a replica out of 10,000 pieces of scrap metal. The seven-long project weighs about 1,000kg.
This Gullwing was created by a German craftsman and it went for $7,800 on eBay. And while it won't run, because it is made out of wood, the doors will open and the front wheels will steer. You can even sit (and make out) on it, making it art worth owning.
Just when you thought gold was for jewelry, now we have anything in white gold to rose gold. The white gold alloy sheet metal is owned by a billionaire in Abu Dhabi and it costs $2.5 million. The rose gold plated, on the other hand, belongs to none other than the American rapper Tyga.


When and where do I bring the toys to donate?
December 2018 brings the 17th annual Toy Truck to be filled with new, unwrapped toys and gifts for children served by Porter-Leath!
What is the Toy Truck all about?
This year, we need your help to fill the truck so that 5,900 local, low-income children, all under age 5, can receive a meaningful gift this holiday season. Toys should be new and unwrapped; for ideas on what to donate, visit the Toy Ideas page.
If I can't bring toys, what other ways can I help?
As always, if you don't have time to shop, or don't feel like braving the hustle and bustle of the shopping season, monetary donations are always welcomed and are matched by our Secret Santa. For example, this turns your $20 gift into $40 and allows Porter-Leath to shop where toy collections may be short. To donate online, click here for our donate page.


When it comes to movies, one sports translates to the silver screen better than any other – baseball. For decades, theatres from coast to coast have hosted their fair share of great movies set on the diamond, films that have become a part of American pop culture. And in the process, they've created some of the most memorable characters in cinema history, people that audiences could identify with, root for and even empathize.
Baseball movies have also created a legion of fictional players that would be perfect additions to any real-life team. They're the kind of athletes that fans of downtrodden teams would love to see added to the roster; they'd be the difference makers that would turn a losing franchise into a winning one.
At this point, that type of whimsical notion is among the most-realistic hopes for Rockies fans; after all, the franchise isn't exactly vying for the top talent available every year during the offseason. A star has about as much chance to walk out of a cornfield and onto the grass at Coors Field as the team does of signing a big-name free agent.
And it wouldn't take many to turn things around. A few key additions, plucked straight off the big screen, could make Colorado a baseball hotbed once again.
Morris Buttermaker (The Bad News Bears) – As tempting as it would be to tab Lou Brown (Major League) as the manager, it seems more appropriate to replace Walter Weiss with Walter Matthau's lovable curmudgeon. Nobody was better at getting a group of ragtag ballplayers to work together; heck, he was even able to corral the perpetually troubled Kelly Leak off his motorcycle and into the outfield. Plus, he'd have lively postgame pressers; there'd be no clichés from this beer-swilling skipper.
Billy Chapel (For the Love of the Game) – Pitch counts be damned, this wily veteran would take the hill inning after inning, trying to will his team to victory despite an aching elbow. That type of mentality would go a long way on a staff that seems to be searching for their latest hangnail, perhaps even rubbing off of the younger generation of pitchers who are used to being coddled.
Roy Hobbs (The Natural) – A star player in his prime isn't going to come to Colorado; at least not within the Rockies budget. But a guy with a past, who saw his once-promising career derailed by some poor choices, just might. Hobbs would flirt with .400 and belt 45 home runs at Coors Field. While he might not hit one into the light supports atop the stadium, there's a 50/50 chance that he could belt a dinger onto the party deck; that's got free margaritas written all over it!
"Nuke" LaLoosh (Bull Durham) – Every great team needs a wide-eyed rookie who doesn't know the gravity of the situation; he's the guy who takes the mound in a pivotal game and isn't rattled because he has no idea that it's perhaps a once-in-a-career opportunity. This young fire baller would fit that role. Plus, he'd also have no idea that pitchers are supposed to struggle at Coors Field; thus, he'd take the mound and do what ever other pitcher ought to do – chuck it.
Jake Taylor (Major League) – The aging veteran with one last shot in the big leagues certainly wouldn't allow his teammates to check out at midseason. He showed up at Roger Dorn's house and threatened the prima donna third baseman with physical harm if he didn't start giving maximum effort all of the time; so he'd have no problem giving Troy Tulowitzki an ultimatum if the $20 million shortstop couldn't make it to first base without pulling another leg muscle.
Ricky Vaughn (Major League) – Game after game, the Rockies seemed to have seen wins turn into losses during the late innings, as their bullpen has been a dumpster fire. Blown saves would be a thing of the past with "The Wild Thing" coming in to close the door in the ninth; that'd lead to 10 to 15 more wins per season, which would put Colorado right in the thick of the wild card race.
With this cast of characters, it's not hard to imagine the latest version of the play-in game. The script practically writes itself.
Buttermaker decides to go with LaLoosh, even though Chapel is rested and ready. In the eighth inning, however, he has to call on his veteran righty to get the youngster out of a jam. Taylor greets Chapel at the mound, gives him a little pep talk, and the side is soon retired. Then in the bottom of the inning, Hobbs hits his league-leading 50th home run to put the Rockies on top, setting the stage for Vaughn to close the door in the top of the ninth. Buttermaker opens his cooler for the postgame celebration… Cut to credits.
Too bad that's a story that could only be penned in Hollywood.


Are natural, biological, and holistic dentistry all the same?
If you are looking for a natural dentist, you may want to look for the words "biological" or "holistic" as you search. Natural, biological, and holistic dentistry are all different words that describe the same thing: a philosophy of dentistry that looks that the whole person rather than just the mouth. This way of treating dental patients is described differently by different people. Here is a brief summary of what each of the terms mean.
The term "holistic" refers to the concept of treating the whole person. Holistic dentists understand the correlation between oral health and overall health and help patients improve both. They routinely recommend dietary changes and/or natural supplements to restore optimal balance of body chemistry because maintaining the proper conditions for a healthy mouth and body is key to preventing problems.
The term "natural" refers to the fact that natural dentists will use natural remedies whenever possible. Since they are concerned with your overall health, they oppose dental practices that may potentially damage your health such as filling cavities with metal compounds containing mercury. A holistic dentist would rather help you find natural ways to prevent cavities in the first place than constantly patch the holes in your mouth with dangerous neurotoxins. If you do get a cavity, a natural dentist will treat it with materials that are not harmful to your body.
"Biological" simply means the study of life. Biological dentists are committed to studying life and discovering the secrets to a healthy mouth on the molecular level. They don't define good dental health as the absence of cavities but as achieving the optimal oral environment.
Is holistic dentistry for you?
These three labels can be applied to the same dentist. While they are interchangeable, they describe different aspects of the same dental philosophy. It is holistic because it looks at the whole person, natural because it pursues a natural remedy whenever possible, and biological because it studies the chemical processes in the mouth.
If you would like to learn more about holistic dentistry, come in for a complimentary consultation.


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Q: Python multi-threading with Postgresql I have a very basic application that downloads data from a server via a socket connection one record at a time and writes each record to a postgresql database. This is only used by me.
downloader = DataDownloader.Downloader()
con = psycopg2.connect(datebase='db', user='username', password='pswrd')

downloader.get_data(con)
con.close()

In the above code I pass the psycopg2 connection to an instance of a class which then does all the downloading and database updates.
The issue is that this process is extremely slow since within get_data() the class only downloads one record at a time. I have started to change this to incorporate threading:
downloader = DataDownloader.Downloader()

records_to_download = 'abc'
thread1 = threading.Thread(target=downloader.get_data, args=(records_to_download))
thread1.start()

records_to_download = 'xyz'
thread2 = threading.Thread(target=downloader.get_data, args=(records_to_download))
thread2.start()

records_to_download = 'ghj'
thread3 = threading.Thread(target=downloader.get_data, args=(records_to_download))
thread3.start()

All i've done is once again create a single downloader instance. Then create 3 threads which each runs get_data by passing it a parameter specifying which records to download.
Instead of creating a psycopg2 connection and passing it to get_data I have instead created the connection within get_data so that each thread will have it's own connection.
My question is, is that sufficient and correct to ensure all the threads will 'play nice' with the database simultaneously? Each thread is still using the same username/password to access the database. I have ensured that each thread will be updating different records by passing it a records_to_download parameter.
I have heard about connection pooling but is that overkill for a one user, multi-thread setup such as this? (I have never used connection pooling and my database knowledge is very basic,...so if this is not necessary then I would avoid it).
Lastly, is there a limit to how many threads I can use for this kind of setup before being forced to use a more robust approach such as connection pooling? Or is connection pooling required right from the get go?

A:
is that sufficient and correct to ensure all the threads will 'play nice' with the database simultaneously?

Indeed, this is the most straightforward way to achieve parallelism.
(Note that PostgreSQL supports, in fact, parallelism through a single connection, but to my knowledge it's only readily available in the C driver.
There's also executemany and the trick of inserting multiple rows with a single INSERT statement (cf. this question)).
Now that you have efficient parallelism through multiple connections you should check for server-side bottlenecks. In particular, COMMITting transactions to disk in a super-durable way that ACID requires might keep the updates slow as they are waiting on the operating system and storage devices to report back the successfull arrival of the payload.
To that end you might want to relax the durability a bit by issuing SET synchronous_commit TO off in every connection that you use for the bulk updates. (Cf. synchronous_commit and this question).
Alternatively you might group the updates in large transactions, delaying the durability-to-disk issues until the transaction commit.

I have heard about connection pooling but is that overkill for a one user, multi-thread setup such as this?

Connection pooling is used primarily to alleviate the cost of establishing and tearing down connections. In some setups it can also decrease the number of connections the database needs to maintain.
Consider the following use case: 1) User visits a server page; 2) Server establishes a database connection; 3) Server checks if the user exists by querying the database; 4) Server tears down the connection; 5) Server sends the page to the user.
In such a repetitive task the second and fourth steps are usually optimized with some kind of connection pooling.
Another use case: 1) User visits a server page; 2) A server process establishes and caches a database connection; 3) Server checks if the user exists by querying the database; 4) Server sends the page to the user.
Here every server process keeps its own database connection in order not to establish a new one every time there is a request. So if you have, say, 200 PHP processes running then there are 200 database connections. This takes RAM from the database server to maintain the connections. Connection pooling might be used instead, to achieve a similar performance without the need to maintain 200 connections.
In your scenario I see no need for connection pooling. Also having your own connections allows you to tune them further with synchronous_commit, work_mem etc, which is not advisable when using a connection pool because by leaving the tweaked connections in the pool you might affect the durability and performance of other pool users in an uncontrolled way.

Lastly, is there a limit to how many threads I can use for this kind of setup before being forced to use a more robust approach such as connection pooling? Or is connection pooling required right from the get go?

Multithreading is not a silver bullet. You need only as many threads and connections as to counter the bottlenecks imposed by the serial nature of the driver communications with the database (indeed, if you were to use the asynchronous pipelined version of the C driver then you'd likely need no threading at all) and reach the performance plank imposed by the database server configuration and hardware. Throwing more threads at the problem than needed will only scatterbrain the system, making it work even slower (cf. Reasons for Performance Reduction Past the "Knee").
Test and measure to come up with the optimal number of threads and connections for your use case.
The performance is your limit, throw too much threads at the problem and the performance will suffer.
As for connection pooling, you only need it in specific use cases.

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LIFE HACKS #1268 BEACH HACK: BUY A DIAPER AND INSERT YOUR V - ProudMummy.com the Web's Community for Mums.
LIFE HACKS #1268 BEACH HACK: BUY A DIAPER AND INSERT YOUR VALUABLES. ROLL IT UP SO IT LOOKS USED. BOOM! NEVER HAVE ANYTHING STOLEN AT THE BEACH AGAIN.
It seems a bad idea, what if someone helpfull decides to put it in the bin for you!


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Quick Answer: Do Bridesmaids Need Flowers?
Do bridesmaids have to carry flowers?
Do brides and bridesmaids have the same flowers?
Do bridesmaids keep their bouquets?
Do bridesmaids wear corsages?
Who pays for bridesmaid bouquets?
What is the average cost of bridesmaid bouquets?
How big should a bridesmaid bouquet be?
Why does a bride carry a bouquet?
Do bridesmaids pay for their bouquets?
If your bridesmaids will be carrying bouquets down the aisle, there are a few easy ways to differentiate between theirs and your own.
Most commonly, brides opt to have their 'maids carry a slightly smaller version of their own bouquet, sometimes designating a certain flower to appear in the bridal bouquet only.
Your bridesmaids are an integral part of your big day, so the flowers they will carry are important, too. Sure, they don't have to be huge or packed with an intricate mix of different blooms, but their floral bouquets should complement your arrangement, their dresses, and the overall vibe of the day.
The bride's wedding bouquet at this wedding is smaller in width than her bridesmaids, but hers is solely blush pink roses – which are absolutely beautiful. She has used the same roses for her bridesmaid's bouquets but less of them, and has added pretty white flowers to bulk it out.
Historically, the bride should pay for the bouquets and also give her 'maids a present to thank them for their efforts as bridesmaids. After all, the 'maids are on the hook for so much as it is: the dress, shoes, transportation, travel, lodging, the bridal shower, the bachelorette party and on and on.
Instead of carrying bouquets, have your bridesmaids wear a wrist corsage full of beautiful fresh flowers. If you're concerned about what your bridesmaids should do as they walk down the ceremony aisle, we have a solution.
Bride and family pay for floral arrangements for the ceremony (including a chuppah if it's a Jewish wedding ceremony) and reception, plus bouquets and corsages for bridesmaids and flower girls. Groom and family pay for the bride's bouquet, boutonnieres for men and corsages for mothers and grandmothers.
Bridesmaid bouquets tend to be smaller and less expensive than bridal bouquets. The average cost for a bridesmaid bouquet is $75.
For a small, intimate Wedding, you could also order a 9″ Wide Bouquet. For a Cascading Design, the most popular is the "Full & Elegant". For Bridesmaids the most popular size are the 7″ or 8″ Wide, and usually 9″ Wide for MoH. But there is no rule here, just what you like best!
In Ancient Rome, brides carried or wore flower garlands, believing that flowers signify new beginnings, fidelity and hope of fertility. In the Middle Ages, strong-smelling herbs and spices were thought to ward off and drive away evil spirits, bad luck, ill health and help mask the smell of body odour.
It's standard for the bride to cover the cost of bouquets, transportation to and from the wedding venue, and a gift to her bridesmaids. Optional costs may include hair and makeup, hotel accommodations, bridesmaids' dresses, and a bridesmaids' luncheon (if hosted by the bride).
Quick Answer: What Times Should I Eat To Lose Weight?
How many times a day should you eat to lose weight?
Quick Answer: How Much Does A DJ Cost For A Wedding?
$200 – $300 Typically a beginning DJ, most likely a
How Long Should I Drive My Car After A Jump Start?
Do I need to replace battery after jump start?
Question: What Is The Most Expensive Plant?
10 Most Expensive Flowers In The World: Orchids, Roses &
What Is The Most Expensive Wood For Furniture?
Which is the best wood for furniture? TeakTeak (Tectona

redpajama_set_name: RedPajamaCommonCrawl


Travis Groth, Director of Financial Development for the Maury County Chamber & Financial Alliance graduated from the University of Oklahoma Economic Improvement Institute on Might four, 2017 on the OU EDI Spring session held in San Antonio, Texas. News about economics, including commentary and archival articles published in The New York Occasions. The S&P 500 and the tech-heavy Nasdaq Composite opened barely decrease Friday, after reaching recent highs earlier within the week. John Urschel is simply too smart to have waited this lengthy.
The issue is that it is virtually impossible to separate cause and effect. GO LARGE IN TEXAS® promotes Texas financial development and offers helpful information for corporations seeking to expand or relocate in the Lone Star State. Also, Uber is on a collision course because it grapples with administration problems.
Compensation prices increased zero.5 p.c for civilian workers, seasonally adjusted, from March 2017 to June 2017. But the IMF said that its forecast for international development remained unchanged, given strengthening economies in France, Germany, Italy, Spain, Japan and Canada.
Retail stores across the nation are introducing automated machines which are taking the place of jobs in any other case carried out by human staff. In February, U-Haul ranked Texas as the No. 1 Progress State for 2016 in the company's migration trends report.


text:
Professionista dal 1966 al 1974, conta la vittoria di due tappe al Giro d'Italia.

Carriera
I principali successi da professionista furono una tappa al Giro d'Italia 1968, una tappa alla Tirreno-Adriatico nel 1970 e una tappa al Giro d'Italia 1971. Fu secondo nella sesta tappa del Giro d'Italia 1970, nella decima tappa del Tour de France 1970 e nella quinta tappa del Tour de Romandie del 1971.

Palmarès
1966 (Molteni, due vittorie)
3ª tappa Österreich-Rundfahrt (Gleisdorf > Klagenfurt)
7ª tappa, 1ª semitappa Österreich-Rundfahrt (Steyr > Lunz am See)

1968 (Molteni, una vittoria)
7ª tappa Giro d'Italia (Alessandria > Piacenza)

1970 (Molteni, una vittoria)
5ª tappa, 1ª semitappa Tirreno-Adriatico (San Benedetto del Tronto > San Benedetto del Tronto)

1971 (Molteni, una vittoria)
4ª tappa Giro d'Italia (Benevento > Pescasseroli)

Piazzamenti

Grandi giri

Giro d'Italia
1968: ritirato
1969: 29º
1970: 50º
1971: 35º
1972: 60º

Tour de France
1967: ritirato (11ª tappa)
1970: 39º

Classiche monumento

Milano-Sanremo
1967: 68º
1969: 63º
1970: 87º

Giro delle Fiandre
1972: 71º

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
Journal • Design
Nightingale, Melbourne
It may have taken a blow, but Jeremy McLeod's sustainable affordable housing project is not out for the count...
Ben Morgan • 3 November, 2015
The Victorian Civil and Administrative Tribunal (VCAT) recently revoked Breathe Architecture's brilliant sustainable and affordable living scheme Nightingale, at the behest of one solitary senior member. A passion project for Jeremy McLeod, we sent Ben Morgan to talk to the architect about its background, this incredulous set back, and the future of the Nightingale concept.
In 1983, an 11-year-old boy got on a bus to the Australian Capital — accompanied by his father and a troop of passionate, socially-minded protesters — to picket Old Parliament House on housing issues. That boy, Jeremy McLeod, is now the director of the well-regarded Melbourne studio Breathe Architecture. He recalls that trip vividly and credits his father — a staunch advocate for affordable housing — with sparking his life-long interest in socially sustainable, people-centred architecture and development. This passion was largely realised when he designed The Commons, a housing project in the Inner-Melbourne suburb of Brunswick; the aim of which was to create a sort of vertical community, with sustainability — social, financial and environmental — at its heart.
The Commons. Photo, Michael Downe
Initiatives in The Commons included zero air-conditioning (passive heating and cooling), solar, a food-producing rooftop garden, beehives and communal laundry, and secure parking for over 70 bicycles — to name just a few. For McLeod, the 'experiment' was a resounding success. But he knew he wanted to do more. "Leading up to The Commons, I finally realised that development is a commodity market, it's not a housing market," he says. "I didn't become an architect to develop a commodity, I became and architect to house people."
And so it was that Nightingale was born. McLeod refers to the initiative as 'a triple-bottom-line' development model; meaning that it must be financially viable, socially responsible and environmentally sustainable. "Nightingale is about how to house Melburnians, how to house Australians and how to do it fairly and equitably. It's about how we try to deal with climate change, with housing affordability, and with modern isolation. To me this is what, as an architect, I was built to do."
The Commons. Photo, Andrew Wuttke
Related Story: Melbourne's oldest pub evokes folk hero spirit with daring Breathe Architecture refit…
However, this approach is a significant departure from the standard development model, and Nightingale is seriously pushing the boundaries. Their first eponymously titled apartment development, Nightingale 1.0, gained broad community support with 177 submission of support received by the local council in charge of approving planning applications for such developments. The project was unanimously supported by the City of Moreland to allow the "car-free, carbon-free build". The Commons — across the road from the Nightingale 1.0 site — was a successful pre-cursor to this; with public transport (train, tram, bus) a literal stone's throw away, a main arterial bike path on its boundary, and an on-street car share space established, the project has achieved a car ownership rate of just 11% (the long-term target is 10%) without a single on-site space. Using a number of initiatives — including no on street parking permits for residents and and a green transport levy — there has been a significant behavioural shift.
Despite the success of The Commons prototype, a legal challenge was launched by a sole objector in the Victorian Civil and Administrative Tribunal (VCAT) and the development approval was overturned, meaning they had to literally go back to the drawing board and resubmit for approval.
"Obviously I think that a local community should have the right to make decisions about how they want to live and that one individual should not have the power to overturn that." McLeod says. "I respect the decision that VCAT has made. I don't agree with it, but I respect it. It's the nature of living and working in a democracy."
"If you look at cities like Barcelona, Rome, Copenhagen, living in a carless city is just the norm. A walking city is just what they do, what they've always done since the 15th Century. The advent of the motorcar didn't change the way that those people live. So were we to do this in Barcelona, it'd be a walk in the park, but the bureaucracy in Spain is a nightmare, the bureaucracy of working in a city like Naples is a nightmare, even Sweden — one of the most progressive societies on the planet — is still incredibly bureaucratic. It's just the nature of working within a democracy and I have faith that people will see the light and that we'll get there."
Nightingale's investors and future residents have continued to back the project, despite the setbacks. The residents are looking at their purchase as a long-term investment in a community, rather than just a purchase — a huge shift from the standard 'housing as commodity' model.
Perhaps the most exciting part of the Nightingale initiative is its open-source nature. The Nightingale Model has been developed through a close collaboration between The Robin Boyd Foundation and leading Melbourne Architects (see the full list below). They have invested a huge amount their own time and money to develop the model and the associated IP. This IP is now available for free to other architects interested in starting their own Nightingale model — including a detailed agreement to ensure the IP is not abused or misused. Those applying must be registered architects — something of a cornerstone of Nightingale.
Related Story: Breathe Architecture amp up the greenery inside and out at veggie-powered restaurant in a former electronics factory…
"Historically asking an architect to invest in another architect's design… I mean, how would that ever happen?" McLeod says. "I think it's interesting that all of these practices are Gen-X practices. I think as the Gen-Y architects and then the millennials come through we're going to see a total shift away from personal commercial goals, and we are going to see architects thinking more broadly, as a profession and as individuals, 'what can we do for the broader community?'."
Nightingale 2.0 (Designed by 6 Degrees) — located in the suburb of Fairfield — is already well under way and Nightingale 3.0 has just started under Andrew Maynard Architects, yet there is still far more demand from buyers than can be met by these first three developments. It's clear that many city dwellers — in Melbourne at least — are looking for a greater connection to their homes, their neighbours and the environment.
Home, Sustainability, Architecture, Politics, Melbourne, Design
Retro Americana style fused with coastal vibes, San Diego's Pearl Hotel is the unrestrained nostalgia we're all craving right now...
Toronto's creative community readdress their work-play balance at brilliant co-working club, East Room...
Instantly recognisable, eternally memorable, Carlota Guerrero's singular celebration of the female form documented in new monograph...
Midtown makes room for another attractive green space with ethics and luxury in equal measure...
With a pretty façade, partly clad in timber and partly covered in a blanket of ivy, 1 Hotel Central Park has more in common with the green spaces of its nearby namesake than with the neighbouring properties around 58th Street and Sixth...
Biomimicry design agency Exploration show how nature will shape the future...
Biomimicry – nicking nature's best ideas and applying them to man-made design – has been making the news a lot lately. Last week, Professor Malcolm MacIver of Northwestern University revealed his robot that replicates the electric impulse...
Science fiction city edges closer to reality at Lisbon Architecture Triennale...
Giving us the first "is that a badger or a dog?" double-take of the day (it's a wolf), Revital Cohen and Tuur Van Balen's And Nowhere a Shadow is just one of the interesting elements to Future Perfect, part of the Close, Closer series of...
Reimagining the future of urban mobility...
The sophomore, as they'd say in the US, instalment of Audi's fledgling Urban Future Initiative (the first having taken place at 2010's Venice Architecture Biennale) was held recently in Istanbul - a showy affair that presented the works of...


text:
Bequinho nome artístico Alberico de Sousa foi um pianista e compositor de música popular brasileira.

Pianistas do estado do Rio de Janeiro
Compositores do Rio de Janeiro (estado)


text:
The Artist's Inner Vision Tarot
Arnell Ando
Arnell Ando is a Jungian-based Expressive Arts Therapist and Certified Tarot Grand Master. She has created three wonderfully expressive and beautiful Tarot decks thus far, including Transformation Tarot which was published in 1995. Arnell has contributed to more than five other collaborative artist's decks. She has combined her studies in the spiritual and psychological fields and her passion for mythology to create her unique interpretation of the Tarot. She lives in Southern Cal. with her artistically inclined husband Michael and two sons Taro and Teppei.
Arnell conducts art and tarot workshops in San Diego and at various symposiums. You can view and purchase her decks at: Transformational Tarot.
Keely Barham
Kelly is a very versatile artist, working in many multimedia projects. Her restless creativity never allows her to stay in one place for very long, making for an extremely fluid artistic style extending to many mediums. She has participated in the Griffin and Sabine art swap and the Capolan art swap, as well as participating regularly in a faux post exchange. She has been published extensively in Rubberstampmadness and The Studio. She has owned and operated her own handmade jewelry business. Currently she is involved in a doll making round robin and has begun a painting business creating unique interior designs with murals, faux finishes, trompe l'oeil etc.
Keely has been married for 17 years and resides in Anaheim Hills, California with her husband and two daughters, ages 15 and 10.
Prince of Coins
Julie Hagan Bloch
Julie received a Bachelor of Fine Arts from the University of Cincinnati where she spent many hours painting until the wee hours of the morning. She eventually migrated into stamp carving where her talent has become absolutely legendary.
Julie has written and illustrated the book Carving Stamps. She has illustrated several beautiful Haiku books by her husband, artist David Samuel Bloch: The Essence of This, No Such Thing as Strangers, Haunting Us With His Love, A Knock at the Gate and is currently working on a larger book, Moving Stillness that is being published by Aha! Books soon. Her work has appeared on several Rubberstampmadness, Stampagraphic and Stretch Marks covers. She has also had both art and articles about her published within many other publications, such as Nomo the Zine, Drift, Girl-illa, Vamp Stamp News and Somerset Studio. Julie occasionally teaches stamp carving.
Julie is active with the printmaking group RAPS, a mail art swap involving stamp carving and print designs, most recently written about in the Rubberstampmadness July/August '99 issue.
Julie has studied Spanish, Chinese and is currently studying Ancient Egyptian hieroglyphs.
Julie lives with her loving husband David, her sweet retired crossword playing mother and two spoiled dogs in Hurleyville, New York on three acres.
Tracy Cutts
Tracy has been dabbling in art for years, doing everything from designing store window displays, teaching art and doing wardrobe and props on movies and commercials, to selling jewelry, eclectic greeting cards and other hand made items at craft bazaars and art fairs. She's been both the teacher and the student in mediums as diverse as book and paper making, nature crafts, painting, children's book illustration, pottery, printing and creative journaling. Her work can often be seen in The Studio and Somerset Studio magazines and she's having her first show at a gallery in July, 99.
Tracy is the proud single mother of two also creatively inclined people, Milo, age 6 and Sidra, age 12. She makes her living as a script supervisor in films and television while she figures out what else she wants to be when she "grows up" besides happy, which she is.
Debba is a multi-media artist who has been experimenting and experiencing art of various kinds (embroidery, crochet, sewing, knitting, beading, macrame, origami, drawing, collage, rubber stamping, bookbinding, calligraphy, papermaking, and more recently computer generated art) virtually all of her life. She has been brought into contact with legions of other artists through the miracle of mail art through Rubberstampmadness (RSM) mail art swaps.
Debba began rubber stamping in 1995. She had her first card published in RSM six months after picking up her first rubber stamp. Two months later she launched the popular swap she created, called Nude Deal Post Card Exchange. Her second card was published in RSM's centerfold the next year. In the November/December '97 issue, RSM published an article on Debba and the Nude Deal Post Card Exchange which she organized and ran for five years (possibly setting a record for the longest running mail art exchange!)
By day Debba is a production and distribution forecaster for a Fortune 500 manufacturer. By night she makes jewelery and art. She is a Reiki Master in the Usui tradition. She lives under a pile of metaphysical texts, science fiction books and craft supplies in a cozy condo in Southern California.
Prince of Cups
Princess of Swords
Becky Ericsen
Becky Ericsen owns and operates her own rubber stamp store, SmudgePrints. She also teaches reading and english, as well as paper arts classes. Becky's artistic specialities are in the book arts, paper making and stamp art creations. Because of her expertise in these areas she was selected to demonstrate rubber stamping on the "Artrain" a traveling art museum sponsored by Chrysler that carries art from the Smithsonian to small towns across the country.
Becky Ericsen has been published in Rubberstampmadness and Tabellae Ansata, the latter of which she wrote for as well.
Becky lives with her loving husband in Sidney, Ohio.
The Hierophant
Ricë Freeman-Zachery
Ricë Freeman-Zachery came to art through writing. After receiving her B.A. and M.A. in language and literature, composition and creative writing, she began crafting articles for Rubberstampmadness, a magazine that put her in touch with a multitude of talented artists and ignited the spark that had been nearly extinguished by Miss Stearns, her third-grade art teacher. Since then, she's taken to art with a vengeance for all those stolen years, thinking of Miss Stearns with every piece she sells. In addition to writing for Rubberstampmadness, Ricë writes for other publications, including Publications International, for whom she's contributed projects for several books and The Studio.
Her handmade relicarios have sold on Canyon Road in Santa Fe and her books, dolls, jewelry and other artworks are available by special order and at Gallery 1114 in her hometown of Midland, Texas.
Alexandra Genetti
Alexandra Genetti is first and foremost a symbolist. She is the author and illustrator of the unique and acclaimed Tarot set, the Wheel of Change Tarot which can be seen at her website, Color Wheel Creations. She came to the Tarot through a love of patterns, symbol systems, mythology and folklore. The Tarot was the perfect intersection of all these lines of inquiry and served as a path of illumination and integration in creating a modern symbol system.
Alexandra lives off the grid in a solar and hydro-electric powered house on 120 acres of beautiful northern California woodland with her husband and three children. She is currently at work on a few long-term projects and is teaching workshops in nature about nature. She teaches celestial mechanics, astronomy and it's relation to astrology, the crafts and arts, as well as the Tarot. Every time that Wheel turns 'round, Bound to cover a little more ground.
Connie Houser
Connie feels her life is both saved and sustained by art, in a variety of mixed media artistic self-expression, however official recognition for her tremendous talent first came through her encounters with rubber stamping, begun over ten years ago. Connie was invited personally by Gary Dorothy of Stampa Barbara to create displays in his store. An article in Rubberstampmadness (RSM) on Connie and her art was next, followed by art contributions to RSM centerfold art in nearly every issue in the following year. In 1995 Connie did an RSM cover for the November/December issue. Connie's art is visible in many current issues of RSM and another article on her will be forthcoming in the September/October '99 issue of RSM.
Connie is one of the very few native Californians who have elected to remain in Southern California and is actually a third generation Californian (which is even more rare). She is an avid reader of poetry, mysteries, techno punk science fiction and is a long-time member of People for the Ethical Treatment of Animals (PETA). Connie keeps several journals and maintains colorful correspondence with a wide assortment of people through the wonderful world of mail art and art exchanges. She has red hair and a cat named Hercules.
Mark Jetton
An extremely talented artist, Mark has been remarkably prolific in many publications for over ten years. He was the cover artist for Rubberstampmadness, September/October '93 and featured in innumerable articles and centerfolds in RSM and various other magazines such as The Studio, Stretch Marks, Houston City Magazine, Arts and Crafts Magazines etc. on a regular basis.
Mark is single, a native of Houston, Texas, confesses he eats too much ice cream, is a control freak, never misses Letterman, hasn't been to a doctor in 18 years, is a movie junkie and considers himself to be compulsively creative.
Jill is a mixed media/collage/assemblage artist, a painter and mail artist residing in Southern California in the L.A. area. She studied fine art and arts education at the University of Wisconsin but pursued a career in social services after moving to Florida. It was in Florida that Jill was introduced to mail art as an antidote to the dullness of the working world. A friend handed her a Rubberstampede rubber stamp mail order catalog back in the mid '70s and the rest, as they say, is history.
Jill has been active in mail art off and on for almost 25 years and has been most active within the past five years. What served as a part time stress reliever also served to keep her connected to visual arts during the years of working in non-art related jobs. In 1996 after moving to Southern California with her husband and two cats, she decided to become more involved in her real passion and interest in life — art. Since 1998 she has been exhibiting art work in local galleries and art centers like the Brea Art Center in Brea, CA and the MECA in Santa Ana, CA, as well as expanding her mail art activities. Mail art participation has included the Griffin and Sabine exchange, Capolan, Funky and Loteria as well as her own wonderful mail art exchange BrainWaves, begun in 1997 and continuing currently. The group exchanges art work on a quarterly basis and shares information about art resources and the creative process.
Jill has contributed some fascinating artwork and articles to various publications, such as The Studio, Rubberstampmadness, Stretch Marks, 1843 Rubberart, Rubberreality and Yowza!! She has recently participated in a collaborative project of art doll rubber stamps organized by Lynne Perrella of Acey Deucy Rubber Stamps. This sheet of dies is advertised in The Studio.
Jill is happiest when she is working in her studio, covered with paint, flanked by rubber stamps and accompanied for hours by her favorite muses, Maxine and L.A. the wonder cats.
Dennis Jordan
This extremely talented and prolific artist has always had a passion for art. His parents encouraged his artistic nature growing up, promoting his "wild side" and allowing him to color outside the lines.
Dennis graduated from Pacific Lutheran University with a B.A. in Art Education. He has participated in many art shows and exhibits and has an accumulation of awards for his work if listed here would take up all the room on this web page! Dennis works in the medium of printmaking in combination with collage, which he displays and sells on his website: Dennis P. Jordan, Printmaker. His work has been featured in many publications, including Rubberstampmadness and The Studio.
Dennis lives in Gig Harbor, Washington where he also currently teaches art.
Sandra McCall
Sandra McCall comes to this artist's deck by wan of an extensive art background that has driven her into the arena of art stamping and collage. A freelance artist living in Southern California with her husband, Les Gains and their cat, Buddy, Sandra enjoys finding new ways to marry basic art supplies and stamp related products. Her primary interests include bookbinding, surface embellishment on both paper and fabric, collage and multi-medium assemblage.
Sandy has written several successful how-to articles for Somerset Studios, National Stampagraphic and The Rubber Stamper. Rubberstampmadness profiled her and her work techniques in the October 1998 issue. Sandra currently is in the midst of writing a book on paper arts that will be published by North Light Books and should be available in the fall of 2000.
Sandy teaches paper arts classes in stores and at conventions across the country. Her classes are a relaxed atmosphere where students can benefit from the sharing of information and skills. She says that she is happy if she is successful in teaching her students to have no fear and to try everything art-wise.
Amy McClure
Amy is a professionally trained artist, receiving a Bachelor of Fine Arts degree from Columbus Collage of Art and Design. She has worked in many media, watercolor, pencil drawings, photography etc. however, she began experimenting in rubber stamps a few years ago. She started simply as many of us have, by picking up some stamps to decorate some Christmas card envelopes. She became hooked on stamps, eventually seeing the potential to work stamped images in with various different media. She began participating in stamp art exchanges and in many art deck collaborative projects. She has had artwork featured in Rubberstampmadness and National Stampagraphic Magazine. Previously she has also had her photography featured in the Columbus College of Art and Design's Image Magazine.
Amy currently is working primarily in collage and rather than using her stamp images on their own, she uses them as layered elements in collages. A recurring image in her art is the female form, she excels in creating many lovely and exotic images of women.
Amy was born and raised in Ohio and currently resides with her husband Dennis and her black lab, Circe in Iowa City.
Princess of Wands
Michele Monet
Michele Monet is a commercial photographer who began rubberstamping and collaging in 1996. In the beginning she incorporated her photographs into collages and eventually she used them as a basis for rubber stamp images. She creates stamp designs for Stamper's Anonymous. Her wonderful artwork has been featured extensively in Somerset Studios.
Michele lives in Ohio.
Prince of Swords
Catherine Moore's development as a mixed media artist began at an early age, but had been placed on hold momentarily until the early 90s when she rediscovered that inner passion in the avant garde mail art movement. Through this expressive genre she began to see herself and art in a whole new way and began to nurture the artist within. She is currently studying at the Atlanta College of Art where she has had the opportunity to grow as an artist under the tutelage of Ben Smith and Michael Venezia, two of Atlanta's most celebrated and respected artists.
Catherine's collage paintings, artist books and artistamps have been published in Somerset Studio and The Studio magazines and have been widely exhibited in North America and Europe, as well as numerous private collections. Most recently her work was included in a book arts exhibit in the Renegade Library in Manitoba, Canada. You may see more of her mixed media paintings in the Alternative Arts Gallery, a virtual gallery at Catherine Moore's Home Page.
Princess of Cups
Prince of Wands
Teesha Moore
Teesha's list of artistic accomplishments are many. She is an extremely productive and prolific artist who has the talent and flexibility to enter many artistic realms and succeed. She has designed her own stationary line and started three different rubber stamp companies. She has created graphic designs for many repeat clients. Teesha has organized three Alternative Arts Conventions that relate to rubber stamps, book arts and the paper arts. These conventions were so successful that Teesha's style and ideas have been adopted and emulated by many other convention organizers. She has sold her art at many shows across the country and at several galleries. She is currently the publisher and editor (artistic genius) of a truly original art magazine called The Studio, co-owner of a rubber stamp company, teacher at weekend retreats that she puts on, co-organizer for conventions and gallery owner.
Teesha lives with her husband Tracy and her two daughters in Issaquah.
Tracy Moore
Tracy started drawing when he was given a journal as a gift. Through journaling he became a "real" artist and started making money turning his drawings into rubber stamps. With his love of comic books, science fiction and ancient mysteries, his drawings have a unique perspective. He owns a rubber stamp company called Zettiology. His imagination is unending and he loves to experiment with all the images and ideas that fill the pages of his journals.
Tracy also uses his imagination in the form of words. He has sold over 25 short stories to several different magazines. He also operates a fire protection contracting business which he has owned for twelve years. He lives in Issaquah with his wife, two daughters and beloved dog, Spenser.
NoMonet
Self-taught, obsessive art junkie, discovered rubber stamps in 1993 but thought they were only for decorating the odd paper items. Her first stamp was a quizzical bunny rabbit that she used to decorate post-its used in her technical writing job. After discovering the world of art rubber stamps at a rubber stamp convention her life changed dramatically as did her taste in stamps.
She took the pseudonym NoMonet because of the word play that it invokes in a few ways. Rubber stamp art is not given any respect in the fine art world... ask me if I care! Hence "I ain't NoMonet." Also no money... the rubber stamp hobby is exceedingly expensive. Sorry, Monet is not her favorite artist, there is NoMonet art in her house.
NoMonet (a.k.a. Steph King — PLEASE — no relation to Stephen King) went on to have her art featured in the occasional Rubberstampmadness centerfold, did a cover for the September/October '96 issue and has also had her art published in The Studio, Stretch Marks, Rubber Stamper and 1843 Rubberart. Participation in mail art swaps have included the Griffin and Sabine swap, the Goddess swap, the Capolan swap, Funky and Brainwaves. Warning: mail art swaps are addicting! Participation in many beautiful art deck projects compelled her to move in a more commercial direction and into directing and producing this tarot deck.
NoMonet currently resides in Southern California with her loving, patient (imperative artist spouse quality) husband, devoted horse and a small herd of gentle, cuddly, couch potato Rottweilers, three of whom were adopted as adults.
Sarah Ovenall
Sarah is a collage artist, graphic designer and web developer. She has participated in several collaborative deck projects including the Collaborative Tarot, the Goddess Deck, Maninni II Tarot and Universal Dollie Tarot for which she served as project coordinator. For over twelve years she has written for, illustrated and published numerous amateur press associations, including FreFanZine, Golden APA, Myriad Bun-APA, the Junto and Linguica. Sarah has won local recognition for co-directing the annual Carolina Asian American International Film Festival and local notoriety for driving an art car, "Little Pig Boy."
When Sarah first encountered the Tarot almost fifteen years ago, her first impulse was to cut up the cards to create collage art. Later it occurred to her to cut up art and create collage Tarot instead. The product of this inspiration is Victoria Regina Tarot, an acclaimed Tarot deck which has been favorably reviewed by Brian Williams, Robert O'Neill, Tapestry magazine and Manteia Courier.
Sarah lives in Durham, North Carolina with her family of dogs. More information about Victoria Regina Tarot, as well as photos of Little Pig Boy are available on her website www.thefool.com.
Renee Pearson
Renee is an unconventionally trained book artist, printmaker, digital artist and graphic designer, working in various media, monotype, letter-press, found object collage, digital collage using Photoshop and Illustrator. Renee creates her artwork spontaneously and intuitively with little forethought given in advance.
Renee unequivocally trusts in dreams and intuition, is a student of the esoteric mysteries of the Tarot and collector of decks. She is a believer in the inexhaustible creative energy available to all who choose to partake. "Creativity is the catalyst of change, change is what life is about."
Renee lives in Atlanta, Georgia.
The Hanged One
Cathleen Perkins
Cathleen Perkins, in her former art life, prior to 1994 was primarily an oil painter, specializing in portraits and landscapes, an accomplished stain glass artisan and photographer. She was also involved in textile arts, sewing hand made cloth dolls and journaling. Her life took a different turn when she found rubber stamping. She started doing scenes of scenic nature and was featured in RSM centerfolds nine times in one year and then went on to design the March/April '98 cover. Cathleen has also had art featured in The Studio.
Cathleen began designing and producing her own stamps and began exchanging mail art in various groups. She has been in the Capolan exchange, Funky and Brainwaves. She has also participated in many deck collaborative projects. Recently she coordinated the Goddess Deck project, in which 50 women participated and created handmade booklets and pouches for all the participants. This Goddess Deck project is featured in the most recent July/August issue of Somerset Studios. Cathleen has also taught collage classes. She has recently participated in a collaborative project of rubber stamps organized by Lynne Perrella of Acey Deucy Rubber Stamps.
Cathleen resides in Bozeman, Montana with her husband of 34 years. They have 3 grown daughters and two grandsons.
Red Dog Scott
Red Scott is the creator of the wonderful Capolan Art Exchange, a wildly successful and inspiring monthly art exchange loosely based on the artwork seen in Nick Bantock's book Capolan, Travels of a Vagabond Country. She is a regular contributing writer to National Stampagraphic, a stamp art magazine in its 16th year of publication. Her artwork has been published in Stretch Marks, 1843 Rubber Art and The Studio. Red is a veteran stamper who has found her personal niche in collage and photomontage. Other areas of interest are music including solo work, bookbinding structures, journaling and is a devoted X-Files fan.
Red lives with her husband of 22 years, Keith and their four children in Southern California.
Roslyn Stendahl
Roz Stendahl is a graphic designer and illustrator located in Minneapolis, Minnesota. She began her career in publishing as a copy editor after earning her Masters Degree in English at the University of Minnesota. In 1987 she started her own design company. While she works with all printed materials, her focus has been in college textbook design. She has designed over 300 books, providing cover and interior illustrations for the majority of the books she handles. In addition, she has done editorial illustration for magazines. She works digitally, using Photoshop, Painter, Illustrator and Freehand. In natural media Roz works primarily with pen and ink, scratchboard, colored pencil, watercolor, gouache and acrylic inks. Her digital images often include backgrounds or other elements created in natural media and then scanned.
For the past ten years Roz has been teaching classes in colored pencil techniques, creativity, book arts, eraser carving and nature journaling at various community venues. In 1998 Roz was one of ten Twin Cities artists selected for the Intermedia Arts' Artist in the Schools Program. During the nine month long program Roz developed and implemented two curricula for digital art residencies (one with fourth graders and one for a 9th through 12th grade mixed class. Roz also developed a 10 week nature journaling curriculum that will be implemented in the 1999-2000 school year.
Mail artists will be familiar with Roz as Gummiglot. An active mail artist since 1984, she has hosted two mail art calls, White Shoes and Imelda's Closet. From February 1995 to November 1997 Roz published the quarterly non-cute rubberstamping magazine Stretch Marks, a truly wonderful magazine that many of us miss.
A new vocation came into Roz's life in 1983 when she adopted an Alaskan Malamute bitch, Emma and began tracking. Emma died in 1996 of cancer, but Roz continues to work with Emma's niece Dottie. Dottie is trained as a tracking dog and for cadaver search work. Since 1996 Roz has taught tracking classes at a local dog training school.
As a freelance magazine writer, Roz has written on topics as diverse as rubberstamping, dog scent work and prostate cancer treatments. She was a member of Minnesota Scriptworks, a local screenwriting group for five years until it's dissolution in 1998.
Currently, in addition to her design studio work, Roz is preparing paintings and drawings for a one-woman show "Support(s)."
Susan Renee Tomb
Susan Renee Tomb is a self-taught artist and visitor from another planet. As a teenager she began her era as a professional artist when people began to pay her respectable sums not to draw such profoundly disturbing, nightmarish images. She took the cash and soon thereafter began to create art of great beauty and power and was thereupon paid respectable sums to draw these more acceptable images. The effect of this being she made money twice, for drawing and NOT drawing. However, this did not prevent her from creating profoundly disturbing nightmarish images, she just did it for fun and for free.
Susan won a "Most Insipid Letter contest" offered on a "Fright Night" horror movie show and became friends with the resident vampire/mortician host. She did several fascinating illustrations for a sci-fi children's book that was never published because her partner/writer went insane. Susan has also previously worked as a greatly admired equestrian artist and her work has appeared in numerous horse magazines. She also created the deliciously creepy and haunting Halloween cover art for Rubberstampmadness September/October issue which people are still talking about. Her rubber stamp art has also been featured three times in RSM centerfolds (issues 75,76 and 79) and she wrote and provided stamp art for the article "The Evolution of Cosmic Ocean" for the January February '96 issue. She has also created a centerfold and had her art appear several times in Stretch Marks. Susan also sculpted three exotic mythological headdresses for the movie "Wishmaster."
Susan is always looking for new ways for artistic expression and is presently experimenting with creating unique and intriguing images on the computer.
Barbara Wolfe
Barbara Wolfe rediscovered her childhood dreams of being an artist about ten years ago. Many private classes, college courses and teaching workshops later Barbara began to teach private classes herself on collage and journaling. Barbara has published her art in various magazines, including The Studio. She has also participated in many art swaps. Artistic specialties include collage and artistic journals where she enjoys using every artistic medium imaginable. Presently she is involved in acrylic painting.
Barbara lives in Southern California.
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The Index Project, formerly INDEX: Design to Improve Life, is a Danish nonprofit organisation that promotes designs aimed at the improvement of life worldwide, both in developed and developing countries. The organisation is behind the biennial Index Award, the world's biggest design award.

History

Established in 2002, The Index Project was initially proposed by designer Johan Adam Linneballe and then Permanent Secretary of the Ministry of Economic and Business Affairs  as a world design event in order to promote Denmark on a global scale, as well as attract tourism and investments. However, it soon acquired a global perspective, and its mission has become expressed in its motto: "Design to Improve Life".

The organisation is under the patronage of the Crown Princess of Denmark. The Index Project is promoted by means of a design award, The Index Award, education programmes, an investment entity, conferences, and publications. As of 2018, the organisation is headed by Liza Chong. It was previously led by founding CEO Kigge Hvid, former CEO of Øksnehallen.

The Index Award
The biennial Index Award was initiated in 2005, and originally financed by the state of Denmark with a total prize sum worth . In 2005, it was the world's largest monetary award in its area, and today is widely recognised as the most influential in inspiring life-improving design, and has often been dubbed the "Nobel Prize of design". British design critic Alice Rawsthorn in 2011, wrote for The New York Times, "Not only is INDEX: the world's most generous design prize in financial terms, it is one of the few awards to have made a meaningful contribution to design discourse."

Projects from around the world are entered into competition for the award with finalists and winners determined by an international jury. In addition to choosing the successful designs, The Index Award Jury plays a key role in developing and advocating for strategies to expand the borders and impact of design in the world.

2005 winners
The first Index Award was announced in September 2004, and the competition received 538 entries representing 50 countries, of which The Index Award Jury chaired by Arnold Wasserman selected 118 finalists to participate in The Index Award Exhibition. The winners, announced at the award ceremony at the Copenhagen City Hall on 22 September, were:

Body Category: Torben Vestergaard Frandsen, Rob Fleuren and Moshe Frommer - "LifeStraw", a plastic straw that cleans contaminated water to prevent diseases such as diphtheria, cholera, typhoid and diarrhea from spreading through drinking water.
Home Category: Stephanie Forsythe & Todd MacAllen of molo - "Softwall", a 100% recyclable wall to generate personal space in larger rooms
Work Category: Fundación Española para la Innovación de la Artesanía - "Observatorio Iberoamericano", a strategy, system, and network designed to help over 40 million craftsmen in Latin America
Play & Learning Category: Apple - iTunes / iPod, a revolution within the music industry and digital rights management
Community Category: Architecture for Humanity - "Siyathemba – The field of hope", a competition for designers and architects to incorporate football into HIV/AIDS prevention and treatment via a combined football field and health-care facility
People's Choice Award: Apple — iTunes

2007 winners
In 2007, The Index Award received 337 entries, of which the Jury chaired by Nille Juul-Sørensen selected 112 for nomination, and 110 were exhibited on Kongens Nytorv. The winners, announced at the award ceremony at the Copenhagen City Hall on 24 August, were:
Body Category: Sebastien Dubois - "Mobility for Each One", an energy-return prosthetic foot that can be produced for $8 in a local workshop versus the standard $1,300 to $4,000.
Home Category: Alberto Meda and Francisco Gomez Paz - "Solar Bottle", a low cost water purification bottle
Work Category: Philip Greer, Lisa Stroux, Graeme Davies and Chris Huntley - "Tongue Sucker",  a simple device, easy to use in an emergency to draw out the tongue of an unconscious person, make the airway unobstructed and hence assist CPR in time-critical situations.
Play & Learning Category: Elon Musk, Martin Eberhard and Barney Hatt - "Tesla Roadster" a 100% electrical powered sports car with zero emissions and power cost approximately 2 cents per mile
Community Category: Rebecca Allen, Christopher Blizzard, V. Michael Bove, Yves Behar, Sergio Romero de Azevedo, Walter Bender, Michail Bletsas, Mark Foster, Jacques Gagne, Mary Lou Jepson, Nicholas Negroponte and Lisa Strausfeld - the affordable "XO laptop"
People's Choice Award: Han Pham - "YellowOne Needle Cap", a cap to be placed onto a soda can to be used for safe disposal of hypodermic needles in low income countries, where these needles are commonly found in trash and thus increase the rates of transmission of diseases and needle injuries.

2009 winners
In 2009, The Index Award received 720 entries from 54 countries, of which the Jury chaired by Designit co-founder Mikal Hallstrup selected 72 for nomination and exhibition on Kongens Nytorv as part of the first Copenhagen Design Week. The winners, announced at the award ceremony at Koncerthuset on 28 August, were:

Body Category: Philip Goodwin, Stefan Zwahlen and John Hutchinson - "Freeplay Fetal Heart Rate Monitor", a heart rate monitor to safeguard childbirth for mothers and infants in remote areas of the developing world where expert care and electrical power are in short supply
Home Category: Philips Design - "Chulha", a stove designed to limit the dangerous health issues caused by traditions of indoor cooking in many rural areas of the developing world
Work Category: Kiva.org - "Kiva", a website developed to bring lenders and small entrepreneurs together to aggregate loans into a major center of person-to-person micro-finance
Play & Learning Category: Christien Meindertsma - "Pig 05049", a book containing a communications design developed in three years of research to track all the products made from a single pig
Community Category: Shai Agassi - "Better Place", electric vehicle infra-structure to make electric transport convenient and affordable
People's Choice Award: Jean Madden - "Street Swags", a bed and a bag designed to provide more comfort, warmth and protection from weather for people living on the street

The INDEX: Award Exhibition subsequently went on tour to Seoul and Singapore among others.

2011 winners
In 2011, The Index Award received 966 entries from 78 countries, of which the Jury chaired by Nille Juul-Sørensen selected 58 for nomination and participation in The Index Award Exhibition outside the Royal Danish Playhouse on the harbor front in the Frederiksstaden neighbourhood of central Copenhagen. The winners announced at the award ceremony at the Copenhagen Opera House on 1 September were:

Body Category: Yves Behar - "See Better to Learn Better (VerBien)", free eyeglasses for thousands of school children
Home Category: Alejandro Aravena, Fernando García-Huidobro and Gonzalo Arteaga - "ELEMENTAL Monterrey", social housing in a ground breaking new way
Work Category: Kiran Bir Sethi & Pranay Desai - "Design for Change", a global movement designed to give children the opportunity to express their own ideas for a better world and put them into action.
Play & Learning Category: Anna Haupt & Terese Alstin - "Hövding", a bicycle helmet-airbag to wear as a collar
Community Category: Seoul Metropolitan Government - "Design Seoul", the first ever coherent design based approach to improve life for citizens in a very large city
People's Choice Award: Linus Liang, Naganand Murty, Rahul Panicker, Razmig Hovaghimian, and Jane Chen - "Embrace Infant Warmer", thermal regulation infant warmer for premature and underweight born children

2013 winners
The 2013 Index Award broke all previous records by receiving 1,022 entries for the competition from 73 countries, of which the Jury chaired by Mikal Hallstrup selected 59 for nomination and participation in The Index Award Exhibition in Rosenborg Castle Gardens. The winners, announced at the award ceremony on 29 August at Kulturværftet in Elsinore under the attendance of Mary, Crown Princess of Denmark, were:
Body Category: Laerdal Global Health - "The Natalie Collection", a trio of birth simulating devices preventing child and maternal death
Home Category: Kavita Shukla - "FreshPaper", a simple sheet of paper keeping produce fresh 4 times longer
Work Category: The city of Copenhagen - "Copenhagen Climate Adaptation Plan", the Danish capital's pioneering plan of how to address the changing climate
Play & Learning Category: Eben Upton, University of Cambridge - "Raspberry Pi", a $25 computer aiming to digitalise the world
Community Category: Daan Roosegaarde - "Smart Highway", intelligent roads that communicate with its drivers promoting both traffic safety and traffic efficiency
People's Choice Award: "Smart Highway" after a close vote on CNN.com

2015 winners
The 2015 Index Award were presented at Kulturværftet in Elsinore on 27 August, honouring five winners among the 46 shortlisted finalists chosen from a pool of 1123 entries from 72 countries. The winners were:
Body Category: Peek Vision - "Peek Retina", a portable eye examination kit that uses apps
Home Category: Elon Musk - "Tesla Powerwall", a rechargeable battery that aims to revolutionise energy generation
Work Category: Sky Greens - "Sky Urban Vertical Farming System", a low-carbon, water-driven vertical farm that alleviates environmental impact
Play & Learning Category: Luis von Ahn for Duolingo, free language-learning apps
Community Category: Boyan Slat - "The Ocean Cleanup Array", a system to sustainably clean up plastic pollution from the world's oceans
People's Choice Award: William Janssen - "Desolenator", a mobile, solar energy driven water purifier

2017 winners
The 2017 Index Award was presented at Kulturværftet in Elsinore on September 1, 2017, with Alice Tumler as the hostess. Out of 1,401 nominations from 85 countries, 56 were selected as finalists and five of these won an Index Award. Each winner received €100,000 for further development of their design. The winners were:

Body Category: Zipline - "Zipline", a drone delivery system designed to get critical medical supplies, such as blood and vaccines, to remote places
Home Category: what3words - "what3words", an address system dividing the world into 3x3m squares, making sure everyone has an address
Work Category:  GreenWave - "Greenwave", a revolutionary ocean farming system designed to restore ocean ecosystems, mitigate climate change, and create jobs for fishermen
Play & Learning Category: Paperfuge - "Paperfuge", a hand-powered centrifuge made from paper, string and plastic that can detect malaria, HIV and tuberculosis
Community Category: Ethereum Foundation - "Ethereum", a global, open-source platform to decentralize the distribution of money and information
People's Choice Award: Labster - "Labster", a virtual reality lab providing high-quality immersive scientific lessons

2019 winners
The 2019 Index Award was presented at The Plant in Copenhagen on September 6, 2019, with journalist Peter Stanners as the host. It featured keynotes from past winners such as Mikkel Vestergaard, CEO of Vestergaard, Ryan Sims, VP of Design at Duolingo and Keenan Wyrobek, CEO of Zipline. Out of more than 1,800 nominations, 42 finalists from 19 countries were presented and six of these won an Index Award. The five primary category winners each received €100,000 with their prize. The winners were:

Body Category: Faber Futures - "Project Coelicolor", a suite of textile dyeing and printing methods with the Streptomyces coelicolor bacteria
Home Category: AI SpaceFactory - "Marsha", 3D-printed vertical homes designed for life on Mars
Work Category: SafetyNet Technologies - "Pisces", LED-light emitting devices that attracts certain fish and repels non-targeted species to lower bycatch
Play & Learning Category: Microsoft - "Xbox Adaptive Controller", a customisable version of the Xbox game controller made for those of limited mobility
Community Category: Solar Foods - "Solar Foods", the company behind the Solein protein made out of  and electricity
People's Choice Award: Thumy - "Thumy", temporary tattoos and child-friendly insulin pens made to empower Type 1 diabetic children

2021 winners
The Index Award 2021 was presented at Volume in Copenhagen on September 30, 2021, and streamed to a global audience. Senior Copywriter from AKQA Jean-Robert Saintil was the host and the show featured a keynote by co-founder of Airbnb Joe Gebbia – his first public talk in Denmark. From 2,134 nominees, 46 finalists were presented and six of these won an Index Award. The five primary category winners each won a prize package worth more than worth over €250,000, including business development sessions with top-tier global consulting agency Boston Consulting Group, creative branding sparring from award-winning AKQA, a feature on the Google Arts and Culture platform, and bespoke design thinking and leadership workshops with The Index Project. The winners were:

Body Category: Cirqle Biomedical - "OUI", a non-hormonal contraceptive reinforcing women's natural pregnancy barrier.
Home Category: Flash Forest - "Flash Forest", a scalable and effective reforesting technology using aerial mapping, drone technology and ecological science.
Work Category: BIOHM - "BIOHM", environmentally regenerative and natural insulation grown from mycelium.
Play & Learning Category: Truepic - "Truepic Vision & Foresight', groundbreaking technology to authenticate images and videos and combat fake media.
Community Category: Algorithmic Justice League - "Algorithmic Justice League", an organisation combining art, research and education to show the social implications and harms of AI.
People's Choice Award: SAGA Space Architects - "LUNARK", a moon habitat designed for humans to thrive in space.

References

External links

2002 establishments in Denmark
Awards established in 2005
Danish awards
Design awards
Exhibitions
Non-profit organizations based in Denmark


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The Perfect T-Shirt and Sweatshirt Combo for Spring
By Max Berlinger
Last time we checked in with the brand Noble, their main focus was on that enduring wardrobe staple, denim. And while the American classic still resides at the heart of the brand, for spring they've expanded their portfolio of goods to include two equally classic pieces of the menswear canon: T-shirts and sweatshirts.
Founder Chris Sutton applied the same obsessive focus that he has for crafting the perfect pair of jeans to making the tees and sweatshirts. Before the final product makes it to you, dear consumer, there are multiple prototypes that are tested and rejiggered and fine-tuned until Sutton and his team feel that they've mastered the garment. Some might think this is an awful lot of work for, you know, a T-shirt, but, boy, when you try it on, you'll understand why it matters.
Max Berlinger Berlinger is a freelance writer based in Brooklyn.
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