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Advances in Acoustics and Vibration
Advances in Acoustics and Vibration / 2011 / Article
AbstractIntroductionResults and DiscussionConclusionAcknowledgmentsReferencesCopyright
M. Shoaib, L. Kari, "Discrete Element Simulation of Elastoplastic Shock Wave Propagation in Spherical Particles", Advances in Acoustics and Vibration, vol. 2011, Article ID 123695, 9 pages, 2011. https://doi.org/10.1155/2011/123695
Discrete Element Simulation of Elastoplastic Shock Wave Propagation in Spherical Particles
M. Shoaib1 and L. Kari1
1Marcus Wallenberg Laboratory for Sound and Vibration Research (MWL), Royal Institute of Technology (KTH), 100 44 Stockholm, Sweden
Academic Editor: Mohammad Tawfik
Received18 Oct 2010
Accepted15 Jun 2011
Published09 Aug 2011
Elastoplastic shock wave propagation in a one-dimensional assembly of spherical metal particles is presented by extending well-established quasistatic compaction models. The compaction process is modeled by a discrete element method while using elastic and plastic loading, elastic unloading, and adhesion at contacts with typical dynamic loading parameters. Of particular interest is to study the development of the elastoplastic shock wave, its propagation, and reflection during entire loading process. Simulation results yield information on contact behavior, velocity, and deformation of particles during dynamic loading. Effects of shock wave propagation on loading parameters are also discussed. The elastoplastic shock propagation in granular material has many practical applications including the high-velocity compaction of particulate material.
The dynamic response of the granular media has become increasingly important in many branches of engineering. It includes material processing involving dynamic compaction and material processing, as well as acoustics and wave propagation in geomechanics. The granular matter shows discrete behavior when subjected to static or dynamic loading [1–3]. The dynamic wave propagation in granular media shows distinct behavior from the wave propagation in continues media [1]. Shukla and Damania [4] discuss the wave velocity in granular matter and shown experimentally that it depends upon elastic properties of the material and on geometric structure. Similarly, Shukla and Zhu [5] investigate explosive loading discs assembly and found that the force propagation through granular media depends on impact duration, arrangement of the discs, and the diameter of discs. Tanaka et al. [6] investigate numerically and experimentally the dynamic behavior of a two-dimensional granular matter subjected to the impact of a spherical projectile.
To investigate dynamic response, many researchers [7–11] have modeled the granular matter as spherical particles using the micromechanical modeling of contact between particles. These studies focused on equivalent macroelastic constitutive constants during dynamic loading. Similarly experimental work using dynamic photoelasticity and strain gage are performed to investigate contact loads between particles both under static and dynamic loading [12, 13]. Sadd et al. [12] perform numerical simulations to investigate the effects of the contact laws on wave propagation in granular matter. Similarly Sadd et al. [13] use the discrete element method (DEM) to simulate wave propagation in granular materials. Results of this study show wave propagation speed and amplitude attenuation for two-dimensional assembly of spherical particles. However, this study is restricted to the elastic range only while the material stiffness and damping constants used in the model are determined by photoelasticity. DEM was initially developed by Cundall and Strack [14] and this numerical method has been widely used for granular material simulations [15–17]. Different engineering approaches are discussed in [18, 19] to model the behavior of granular matter using DEM. Dynamic compaction of metal powder is also reported in the literature [20–24] and studies the distribution of stress, strain, and wave propagation. However, these studies treat the powder as a continuum and determine the material constants experimentally.
Force transmission in spherical particles occurs in a chain of contacts, which is usually referred to as the force chain. Force chains in granular matter have been widely investigated, experimentally [25, 26] and in simulations [27, 28]. However these studies do not consider wave propagation velocity during loading. Liu and Nagel [29] and Jia et al. [30] found experimentally that sound propagates in granular media along strong force chains. Somfai et al. [31] investigate the sound waves propagation in a confined granular system. Recently Abd-Elhady et al. [32, 33] studied contact time and force transferred due to an incident particle impact while using the Thornton and Ning approach [34] and found a good agreement between DEM simulation and experimental measurements. However, these studies are restricted to the particle collision and are not modeling the shock wave propagation during dynamic loading of particles.
In the present work, DEM is used to simulate dynamic loading of a one-dimensional chain of spherical particles. The contact between particles is modeled using elastic and plastic loading, elastic unloading, and adhesion at contacts. Recently many researchers [35–39] used these contact models, however only to investigate different aspects of static compaction of particulate matter. In the current investigation, typical dynamic loading parameters are used, which are commonly found in high velocity compaction process. The 1D chain of spherical particles is chosen as a preliminary step towards the understanding of elastoplastic shock wave propagation and its effects during the entire loading process. Computer simulations reveal generation, transmission, and reflection of the elastoplastic shock wave through the particles. The shock wave effects on contact between particles, particle velocity, and its deformation are investigated. Effects of shock wave propagation on loading parameters are also investigated. In addition to transducer design, earthquake engineering, and soil mechanics, elastoplastic shock propagation in particulate materials has many other practical applications including the high-velocity compaction of powder material.
2. Basic Contact Equations
This section summarizes the theories that describe the contact behavior between particles and between particles and die wall during loading-unloading-reloading stages. Here the compact is modeled as a one-dimensional assembly of spherical particles that indent each other. These particles are assumed to be materially isotropic and homogeneous while depicting elastoplastic material behavior. Equivalent elastic modulus [38] is given by where represents Young's modulus and is Poisson's ratio of the material. The effective radius of the two particles in contact, here labeled 1 and 2 is determined by the relation As compaction proceeds, the particles overlap each other and elastic normal force follows the Hertzian law where denotes the indentation or overlap between particles, as shown in Figure 1. In the plastic regime, as described by Storåkers et al. [40, 41] for two spherical particles undergoing plastic deformation, the strain hardening relationship is given as where is a material constant, is the strain hardening exponent, and and are stress and strain in the uniaxial case. Normal contact force is given by the relation [42] where Here is a material parameter and, for ideally plastic material behavior, invariant . By considering the material as perfectly plastic while the particles having identical yielding stress normal contact force can be written as [39] The contact radius is defined as [40] while contact stiffness
Schematic of two particles in quasistatic contact. is the overlap and is the distance between the centers of the two particles.
The parameters , , and denote normal contact force, overlap, and contact radius, respectively, at the end of plastic compaction process, before the load is removed. The limit between a fully elastic unloading and a partially plastic unloading, as shown by Mesarovic and Johnson [42], is where is the uniform pressure at contact and is the work of adhesion. In the present case, it is set to J/m2.
During the unloading stage, the distance between the centers of the two particles which are pressed together is and the overlap where indentation recovered is given by [38, 43]
During unloading, the contact radius is determined from (14) and normal force is given by [38, 42] as which can be written in terms of as [42] In (15) and (16), the second term on the right hand side gives the contact force due to adhesion traction. During the present work it has been realized that the second term must be included in elastic and plastic loading equations when adhesion traction is considered. Both cases with and without adhesion traction are treated in the present study.
3. Discrete Element Method
The system under study is the one-dimensional dynamic compaction model shown in Figure 2. There is a chain of micron-sized identical, spherical particles aligned in a container with one end open and the other blocked. At the open end, these particles are in contact with a compaction tool which has the same diameter as those of the particles. Friction between the particles and the container walls is not considered. To start the compaction process, hydraulic pressure is used to accelerate the hammer which strikes the compact at a certain impact velocity. The hammer along with the compaction tool form the dynamic load. Compaction energy is mainly determined by the impact velocity and mass of the dynamic load. Hydraulic pressure is maintained during the complete compaction process.
One-dimensional dynamic particles compaction model.
The dynamic compaction process is simulated by the discrete element method. This numerical method is used by Martin and Bouvard [37] and other authors to simulate static compaction. In the present work, DEM is used to extend fully developed contact models to simulate shock wave propagation in a chain of spherical particles. Here, each particle is modeled independently and interaction between neighboring particles is governed by contact laws as described in the previous section. This contact response plays an important role in the use of DEM to simulate shock wave propagation through the particles. During calculations at time , where is previous time and is the time step, contact force between particles is calculated which determines the net force or compaction force acting on each particle. By using Newton's second law, these resultant forces enable new acceleration, velocity, and position of each particle. At time , force, velocity, and position of each particle are known because it is the moment of the first hit. The velocity of a particle at a time is determined by adopting a central difference scheme as where the position is given by
During iterative calculations, the size of time step plays an important role to ensure numerical stability. For problems of a similar nature, Cundall and Strack [14] have proposed a relationship to calculate the time step which is further developed by O'Sullivan and Bray [44] for the central difference time integration scheme as where correction factor for the present case, is the mass of the lightest particle, and is the approximate contact stiffness given by expression (10). This value of the time step is shown to be sufficient to ensure numerical stability during the calculations.
During the compaction process, particle contact goes through several loading, unloading, and reloading sequences. In the beginning of compaction, contact force is initially elastic for small values of contact radius and it is given by (3). The contact force follows the same curve during unloading and reloading in the elastic regime. At larger contact radius, the contact becomes plastic and contact force follows (8). The term relating the adhesion is added in elastic and plastic equations when considering adhesion traction. If the contact is unloaded, normal force follows elastic unloading (15). When contact is reloaded during unloading then it follows the same equation up to the value of the contact radius on which it was unloaded. Beyond this point, plasticity is reactivated and (8) applies.
4. Results and Discussion
For simulation, one hundred aluminum particles of diameter = 100 are used. Dynamic compression load is applied on the particles by supplying a hydraulic pressure of 13.5 MPa which gives the hammer an impact velocity of 10 m/s. This impact velocity along with the different choices of loading mass results in a compaction energy of 1 J/g to 6.5 J/g. These loading parameters correspond to a typical high-velocity compaction process. The time step used is ns which is estimated as explained in the previous section. The material properties of the aluminum particles are density 2700 kg/m3, yielding stress 146 MPa, Young's modulus 70 GPa, and Poissons's ratio 0.30. The material properties of the loading elements are density 7800 kg/m3, Young's modulus 210 GPa, and Poissons's ratio 0.35. The loading elements are made of steel with a high yielding stress, therefore, during loading, these elements deform only elastically. In the simulation, particle numbering starts from the compaction end. As a convention, resultant force, velocity,and displacement are taken positive from compaction to dead end, that is, along the positive axis, otherwise negative. Dynamic effects during particle compaction like elastoplastic shock wave propagation, particle contact behavior, and particle velocity along with loading parameters are investigated in this section.
4.1. Elastoplastic Wave Propagation
The dynamic load transferred in particles is described using elastoplastic shock wave propagation variables like shock wave front velocity. The shock wave front is interpreted as the maximum absolute compaction force at a particular time while shock wave velocity is defined as the velocity of the wave front. The movement of the shock wave from compaction to dead end and then back to the compaction end is described as one compaction cycle. As the hammer moves forward to compact the material, particles overlap each other and thus contact forces are developed as a result of material stiffness and damping characteristics. The difference between contact forces results in a net force on the particle. This net force increases and the particle starts to move approximately with piston velocity after which this net force decreases and eventually becomes zero. During this period, the shock is also transferred continuously to the next particles. In one compaction cycle, the shock travels from the first particle to the last particle and then it is reflected back from the dead end towards the compaction end. During the backward part of the cycle, net contact force on a particle becomes negative as shown in Figure 3(a).
Elastoplastic shock wave during dynamic compaction. (a) Propagation and reflection during various cycles. (b) Shock front is shape preserving while amplitude decreases during propagation.
The shock wave velocity is approximately 750 m/s (with adhesion) for the first cycle and it decreases approximately 5% from one cycle to the next as in Figure 3(a). Period in which shock passes through individual particle also changes from one cycle to the next and it is about 1.5 μs for the first half cycle. Figure 3(b) shows the enlarged view of neighboring particles. It can be seen that wave front is approximately shape preserving as it propagates through the particles. However, wave amplitude decreases slightly while shock wave passes from one particle to the next. It is mainly due to energy loss in the plastic deformation. In this particular case of a single chain of particles, shock wave velocity and wave front mainly depend upon material properties and they are only slightly affected by changing the loading mass or initial impact velocity.
4.2. Particles Behavior during Compaction
This section describes particle contact behavior, particle velocity, and compaction during the dynamic loading process. These parameters are mainly influenced by the shock wave propagation. Contact history for different particles is shown in Figure 4(a). Contact response between neighboring particles plays an important role in transfer of mechanical energy through particles. The compaction process is initially elastic which remains for a very short time. Then particles are in plastic deformation where the overlap between particles increases linearly with contact force. However, contact force decreases at few points which depicts elastic unloading during compaction. It mainly occurs when shock wave travels back from the dead end and passes through the particle. Contact force increases as shock wave passes through the particle during both parts of the cycle, which can be seen in Figure 4(b). When hammer stops and there is no applied hydraulic pressure, contact force decreases and eventually becomes zero. During this elastic unloading, the small amount of overlap is recovered. Oscillations after unloading are due to adhesion traction between particles. In case of no adhesion between particles, those oscillations disappear.
Contact force between particles during loading-unloading process. (a) During compaction, contact is mainly in the plastic range except for elastic unloading at few points. (b) Contact force increases until the hammer stops. Oscillations during unloading are due to the adhesion between particles.
During compaction, velocity of the particles does not remain uniform and constant as illustrated in Figure 5. As the shock wave passes during forward part of the cycle, it results in the particle motion. Velocity of individual particle is increased from zero to approximately hammer velocity during this period. All particles start to move by the end of forward cycle after which shock hits the dead end and is reflected back. Now, as disturbance passes through the individual particle, its velocity decreases and eventually becomes zero. Time for motion of a particle is determined by the period between shock wave passes through the particle during forward and backward parts of the cycle. The hammer compresses particles until its velocity becomes zero. Up till this point, both cases of adhesion and no adhesion depict almost similar behavior. After compaction, net force becomes zero and particles expand and push back the hammer due to the elastic energy. In case of no adhesion, as in Figure 5(a), particles are moving with different velocities which indicates that particles are separated. In adhesion case, as illustrated in Figure 5(b), particles oscillations can be seen which are caused by adhesion between particles. It indicates that particles are not fully separated.
Velocity of the particles during the compaction process. (a) No adhesion. (b) With adhesion.
Furthermore, shock wave propagation also plays an important role in particles deformation as shown in Figure 6(a). Particles are deformed plastically as shock passes during both parts of the cycle despite particles movement. However, displacement covered by the particles depends upon their position from the hammer as in Figure 6(b). All particles are compacted approximately to the same amount at shock wave propagation.
(a) Deformation of all the particles approximately remains the same. (b) Displacement covered by the particles depends upon their position from compaction end.
4.3. Effects of Changing Loading Parameters
Like particles contact force and velocity, hammer kinetic energy (KE) is influenced by shock wave propagation. Piston KE and collective KE of all the particles are shown in Figure 7(a). There are three shock cycles for this compaction period. Hammer KE has the same pattern during a particular cycle and it changes when shock hits back the hammer at the end of the cycle. Particles KE increase as shock moves forward from compaction to the dead end. It reaches maximum value which is about 7% of hammer KE when shock hits the dead end. On the return cycle, particles KE decrease and become zero when shock hits the compaction end. At this point, all energy is converted to plastic deformation and elastic potential energy. For various choices of hammer KE, particles KE have different values but they all have the same pattern as illustrated in Figure 7(b). In all the cases, maximum and minimum value occurs when shock hits the dead end and compaction end, respectively.
Kinetic energy varies as shock wave propagates through the particles. (a) The hammer kinetic energy and collective kinetic energy of all the particles. (b) Variation in collective kinetic energy of particles with hammer velocity.
It is obvious that particles compaction energy is mainly directly proportional to hammer kinetic energy which depends on its mass and impact velocity. Particles compaction for the the same hammer KE, but with different mass and velocity combinations is shown in Figure 8(a). Compaction is the same in all the cases. However, compaction time is increased by increasing the loading mass. After compaction stage, loading mass oscillates with the same amplitude due to elastic energy of particles. However, oscillations period time is increased with increased hammer mass. In current simulation, the presence of hydraulic pressure after the compaction stage also served to avoid instantaneous particle separation. Contact force between the particles 52 and 53 for different values of hydraulic pressure is illustrated in Figure 8(b). It can be seen that oscillations are decreased with the increase in hydraulic pressure. In case the hydraulic force becomes larger than the contact force during unloading, then particles are compacted again plastically.
(a) Compaction of the particles with the same hammer kinetic energy. (b) Hydraulic pressure counters the elastic unloading energy and also prevents the particles from instantaneous separation.
In the present numerical simulation, a discrete element method is employed to investigate elastoplastic shock propagation in a one-dimensional assembly of spherical particles. Well-established quasistatic compaction models are extended to the dynamic high-velocity range. Propagation and reflection of the elastoplastic shock wave in particles is simulated by using appropriate contact laws. Simulation results show that shock wave velocity, and shape of the wave front changed slightly during propagation. The shock wave determines the contact behavior, velocity and deformation of the particles during dynamic compaction. After compaction stage, adhesion traction restricts instantaneous particle separation. Particle deformation during one cycle initially remained almost the same regardless of loading parameters values. However, particles compaction depends upon kinetic energy of dynamic load despite different choices of impact velocity and loading mass. Shock wave propagation also affects the variations in hammer kinetic energy and collective kinetic energy of all the particles. Although the extension of the developed model into two and three dimensions requires more computational time and resources, it is nevertheless straightforward.
The authors gratefully acknowledge the Higher Education Commission (HEC) of Pakistan and the Swedish Institute (SI) for their financial contribution to the project. The Swedish Agency for Innovation Systems, VINNOVA, is also acknowleged for supporting this investigation under Contract no. 2004-02896 (VAMP 30).
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Copyright © 2011 M. Shoaib and L. Kari. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.


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Large Pork Shoulder Roast Boned (approx. 1.5K) ..
Small Pork Belly Roll (approx. 750g) ..
Medium Pork Belly Roll (approx. 1K) ..
Large Pork Belly Roll (approx. 1.5K) ..


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text:
What's that 12-foot robot doing on Telegraph Road?
Comau donates 12-foot robot artwork to Southfield
What's that 12-foot robot doing on Telegraph Road? Comau donates 12-foot robot artwork to Southfield Check out this story on HometownLife.com: http://www.hometownlife.com/story/news/local/eccentric/2015/08/21/foot-robot-telegraph-road/32119191/
Greg Mullin Published 1:18 p.m. ET Aug. 21, 2015
Chuck Dudek, Comau's North American CEO, talks about why the company donated the welding robot behind him to Southfield and had it installed on Telegraph Road near Eight Mile.(Photo: Michigan.com)
To help recognize Southfield's growing technology corridor, a 12-foot tall industrial-robot artwork was added to the city's southern entrance in the median of Telegraph Road, north of Eight Mile Road.
The steel robot was donated by international industrial automation firm Comau and installed outside its North American headquarters in Southfield, where more than 650 employees work.
"In reality, the robot is not a sculpture, but is a real, six-axis industrial robot," said Comau product and business solutions manager David Reid, project manager for the artwork installation. "It is an elegant piece of automation that is very eye-catching in its bold red color and dramatic pose. By its location at the entrance to the city, it marks the boundary of a corridor of high-technology companies that reside on Telegraph Road."
Southfield Mayor Donald Fracassi is proud of the city's technology business district, which includes major firms like Comau, BASF, DENSO and Lear.
"People seem to forget that little Southfield sits here and doesn't make too much noise; we just make things happen," Fracassi said. "We're really bigger than the business district of Cleveland or Kansas City. We have over 30 million square feet of office space. We are the business center of Michigan."
Artwork plan
The robot plan was conceived in June 2013, when Comau invited city leaders to tour its campus.
"During this meeting, the city mentioned that they have a program to install artwork around the city and (asked if) Comau had any ideas for industrial art work," Reid said.
A similar outdoor robot was already on display at the company's headquarters in Turin, Italy.
Fracassi hopes to see more art on the corridor.
"We're very pleased with it," Fracassi said. "It sets the tone a little more in that vicinity. Hopefully, the other corporations will take note and add to it."
Fracassi said it took two years to get full approval from the state for the project. Reid thanked city leaders and the Michigan Department of Transportation for making it happen.
"The robotic sculpture is an icon that affirms the section of Telegraph Road from Eight Mile to I-696 as a technology corridor," he said. "Comau is pleased to provide the robot and proud to be a member of the family of high-technology companies in the city of Southfield."
gmullin@hometownlife.com
Read or Share this story: http://www.hometownlife.com/story/news/local/eccentric/2015/08/21/foot-robot-telegraph-road/32119191/

redpajama_set_name: RedPajamaCommonCrawl


text:
The Years - Virginia Woolf
Centre, Alexandra Waterhouse-Hayward, Arboledas Edo. de México
A friend today mentioned that her favourite author was Virginia Woolf and by sheer coincidence I was reading my mother's copy of The Years, a 1937 edition by Harcourt, Brace & Company. The book may have been rejected by the library of the American Grammar and High School on Freyre Street in Buenos Aires. Since only the rubber stamp of the school library is visible while the library card holder was taken out I must surmise that my mother who taught at the high school did not pinch it but bought it in a school bazaar. The book was owned by a D.H. Stillman. Her name is on the front, with the date of 1937. She also wrote Manila, which she crossed out then corrected with Shanghai. On the back inside cover there is a seal that reads: Chinese American Publishing Co. – The American Book Shop, 160 Nanking Road, Shanghai.
What is particularly beautiful about this novel is the description of the weather which appears at the beginning of each chapter headed by a year. It begins with 1880 and finishes with Present Day (mid 1930's).
Today's blog will meander a bit and will ultimately edge into randomness.
Today (I write this yesterday, Friday) was a fine sunny day. There was no melancholy in the sky and in the cold but dry briskness I managed to work in the garden with Rosemary under the watch of her cat, Casi-Casi.
Of all of Woolf's weather descriptions my favourite does not apply at all.
It was March and the wind was blowing. But it was not "blowing." It was scraping, scourging. It was so cruel. So unbecoming. Not merely did it bleach faces and raise red spots on noses; it tweaked up skirts; showed stout legs; made trousers reveal skeleton shins. There was no roundness, no fruit in it. Rather it was like the curve of scythe which cuts, not corn, usefully; but destroys, reveling in sheer sterility. With one blast it blew out colour – even a Rembrandt in the National Gallery, even a solid ruby in a Bond Street window: one blast and they were gone. Had it any breeding place it was in the Isle of Dogs among tin cans lying beside a workhouse drab on the banks of a polluted city. It tossed up rotten leaves, gave them another span of degraded existence; scorned, derided them, yet had nothing to put in the place of the scorned, the derided. Down they fell. Uncreative, unproductive, yelling its joy in destruction, its power to peel off the bark, the bloom, and show the bare bone, it paled every window; drove old gentlemen further and further into the leather-smelling recesses of clubs; and old ladies to sit eyeless, leather cheeked, joyless among the tassels and antimacassars of their bedrooms and kitchens. Triumphing in its wantonness it emptied the streets; swept flesh before it; and coming smack against a dust cart standing outside the Army and Navy Stores, scattered along the pavement litter of old envelopes; twists of hair; papers already blood smeared, yellow smeared, smudges with print and sent them scudding to plaster legs, lamp posts, pillar boxes, and fold themselves frantically against area railings.
It was a sunny day but after a short hour in the garden my cough began and so I came inside to look over two big thick photo files called Mexico and Mexico 1975 (we moved to Vancouver on that date).
The pictures here do not seem to hold a pattern except that they all came from two contact sheets in b+w 35 film. That they exist and that I could scan them (they are in excellent shape) is a miracle. That miracle is because I washed (to remove any vestiges of fixer) those processed negatives for hours in Mexico City or in Arboledas, Estado de México where we lived for four years until 1975. Some of the pictures are of a long forgotten performance in an Arboledas school in which my eldest daughter Ale, who was around 6 danced ballet.
I told Rosemary about today's blog and in particular showed her the picture of her with Hilary (three years old) on her lap. She said, "They are boring. Who would want to see it?" I explained that this marks the 8th year of my blog and that by now I should know what I am doing? What am I doing? I am writing this blog for myself, to please myself. I am the publisher, editor, art director, only photographer and I can put up whatever photograph I like and want. Rosemary was silent. And unlike Virginia Woolf's March there was no wind to mask the silence. And yet, The Years ends: The sun had risen , and the sky above the houses wore an air of extraordinary beauty, simplicity and peace. That's the kind of day Friday, a January day was.
Note Rosemary's legs & that's Hilary on her lap.
Hilary sleeping on the floor in Arboledas. The Chapultepec Park train
Ale in our Arboledas home, circa 1973
Jean Glasser, first violinist of he University of Mexico Symphony, yours truly and Hilary
I have no idea who they are. By 1974 I was taking pictures
of wealthy Mexican families
I took this at Ale's ballet performance
Portrait taken by Raúl Guerrero Montemayor
Link to: The Years - Virginia Woolf
Brother Rene, C.S.C & My First Salvador Dalí
I saw my first Salvador Dalí in 1958. I was 15. I was in the tenth grade at St. Edward's High School.
Of our class of perhaps 70, 50 were boarders and the rest were day students who lived in Austin. We were housed in a vast dormitory on the upper floor of a neo-Gothic building. It was like sleeping in a Gothic church. We had bunk beds with desks attached to either side of the beds. I have some old photographs that I have seen in the archives of what is now St. Edward's University. Our dorm resembled a prisoner of war camp in WW-II Poland or Germany.
In one corner of the dormitory there was a separate room with an office that had clear glass. That office was occupied by Brother Rene, C.S.C. He was tall, lean and strong. His only physical deffect, his big ears, marred him from looking quite perfect. They stuck out. The other Brothers of Holy Cross might be cerebral, saintly, nerdish, frugal (Brother Emmett comes to mind), remote or funny. Only Brother Rene was cool. While he had a kind smile we respected him with an almost fear.
He wore short Wellingtons with one of his pant legs tucked in and the other left out. I immediately bought similar boots and attempted to look as cool. But I didn't and I wasn't.
Brother Rene believed in keeping us at a distance so we never did find out much about his personal life. But we knew that in punishment he might make us do 30 pushups and we knew he could do 100 without sweating. One of his forms of punishment was to make us run.
At night he would turn off the lights but instead of giving us silence to sleep he would alternately play the Amos 'n'Andy radio show or play classical music. His fave and mine, too, was Ravel's Bolero. I waited for that moment with the great trombone part.
I may have been so afraid of him that I remember little of ever having crossed his path. I do not remember ever being in his room except twice. It was daylight and all the Brothers of Holy Cross who were dorm prefects always kept their door open. I remember entering and turning my head towards the left. Not up on the wall but resting on a piece of furniture was a reproduction of Salvador Dalí's Christ of Saint John of the Cross. I did not know that was its name. Only now as I write this have I found out, courtesy of Wikipedia:
The painting is known as the "Christ of Saint John of the Cross", because its design is based on a drawing by the 16th century Spanish friar Saint John of the Cross. The composition of Christ is also based on a triangle and circle (the triangle is formed by Christ's arms; the circle is formed by Christ's head). The triangle, since it has three sides, can be seen as a reference to the Trinity, and the circle may be an allusion to Platonic thought. The circle represents Unity: all things do exist in the 'three' but in the four, merry they be.
Brother Rene, C.S.C.
I was shocked and riveted by the extreme perspective of the painting. I was yet to find out about the perspective of wide angle lenses. This was to happen around 1960.
The second time that I entered Brother Rene's room (I do not remember what the reason was) I entered with full intention of looking at the Dalí reproduction in more detail. This time I asked Brother Rene. I am sorry to report that I have no memory of his answer, but to this day Dalí and Ravel's Bolero bring me images of a man I admired, feared but also loved.
Link to: Brother Rene, C.S.C & My First Salvador Dalí
Do This In Memory of Me
Argentine Nostalgia
I thought I'd never miss: -
The wide expanse of pasture of the pampas,
The lead gray skies & stratus clouds
The whistling, whining, violent "pamperos",
The wet moist cold,
The hot damp heat,
The monotonous landscape
Bare of trees & bushes 7 human beings
Populated by lazy, cattle.
But I do,
The balmy breezes of early spring,
The mauve of jacarandá trees in early fall,
The crisp, white frost of midwinter,
The golden yellow of the aroma in late spring
The pungent, acrid odor of the figs in midsummer.
I thought I'd never miss:
The untidy almacén at my corner
Overflowing with cellophane bags of capeletti & ravioli
And mounds of sacks of new potatoes,
Reeking of onions & "tipo Roquefort cheese",
Of smoked ham & bacon hanging from hooks
The heated discussion of the Italian neighbours,
The chattering, singing & crying of their children,
The clatter of their plates & knives - they ate
In the patio & almost lived there,
Their plaintive singing of their summer land
And the merry quartets from Barbero & Rigoletto.
The austere grays & browns & blacks
That Porteños think proper to wear,
Their sober silence and quiet in public vehicles
The busy little sidewalk cafes under striped awnings,
The interminable wait for tram 35,
The long and never ending route it took,
And remember:-
The exquisite taste and stark simplicity
That Porteños think proper for wear,
Their polite "permiso" as they sidled by you on colectivos
The gracious old-fashioned cadence of the
"Cuando" danced in a café.
The beautiful church on Juramento and Cabildo
I always watched out for out of the window of Tram 35
The expectation of getting to Mother's flat,
At the end of the line,
And the warmth I'd get there!
Filomena de Irureta Goyena de Hayward
Nueva Rosita, Coahuila, Mexico
Dec 5, 1956.
The above poem written by my mother in the northern Mexico mining town of Nueva Rosita has haunted me ever since she read it out to me a few years later. It has haunted me and also filled me with guilt that I never made her as happy as I could or that I might have shown disrespect. In fact I feel guilt because at age 15 I was not all that less of a teenage problem than my 15 year old granddaughter Rebecca is now. All I can say in my defence is that I was far less mature so my offences were not as critical.
When I see my daughter Hilary (Rebecca's mother) and notice her smile it is the face of my mother that I gaze into and I have the idea that if I am pleasant and kind to her I will somehow compensate for my actions in the past with her grandmother, my mother.
Perhaps the most singularly beautiful sentence in the English language is this one:
"Do this in memory of me."
It can be found in the New Testament, Luke 22:19 and also in 1 Corinthians 11:24-25. But it was only at the very bottom of the list below that I found the quote with the word memory. In fact remembrance is just as beautiful.
The Sacrament of the Last Supper, Salvador Dalí, 1955
New International Version (©1984)
and when he had given thanks, he broke it and said, "This is my body, which is for you; do this in remembrance of me."
New Living Translation (©2007)
and gave thanks to God for it. Then he broke it in pieces and said, "This is my body, which is given for you. Do this to remember me."
English Standard Version (©2001)
and when he had given thanks, he broke it, and said, "This is my body which is for you. Do this in remembrance of me."
Holman Christian Standard Bible (©2009)
gave thanks, broke it, and said, "This is My body, which is for you. Do this in remembrance of Me."
International Standard Version (©2012)
gave thanks for it, and broke it in pieces, saying, "This is my body that is for you. Keep doing this in memory of me."
King James Bible (Cambridge Ed.)
And when he had given thanks, he brake it, and said, Take, eat: this is my body, which is broken for you: this do in remembrance of me.
Aramaic Bible in Plain English (©2010)
And he blessed and he broke and he said, "Take eat; this is my body, which is broken for your persons; thus you shall do for my Memorial.
GOD'S WORD® Translation (©1995)
and spoke a prayer of thanksgiving. He broke the bread and said, "This is my body, which is given for you. Do this to remember me."
King James 2000 Bible (©2003)
And when he had given thanks, he broke it, and said, Take, eat: this is my body, which is broken for you: this do in remembrance of me.
and when he had given thanks, he brake it, and said, This is my body, which is for you: this do in remembrance of me.
And giving thanks, broke, and said: Take ye, and eat: this is my body, which shall be delivered for you: this do for the commemoration of me.
Darby Bible Translation
and having given thanks broke it, and said, This is my body, which is for you: this do in remembrance of me.
Webster's Bible Translation
and after giving thanks He broke it and said, "This is my body which is about to be broken for you. Do this in memory of me."
When he had given thanks, he broke it, and said, "Take, eat. This is my body, which is broken for you. Do this in memory of me."
and having given thanks, he brake, and said, 'Take ye, eat ye, this is my body, that for you is being broken; this do ye -- to the remembrance of me.'
For Roman Catholics the moment is the proof that in transubstantiation the substance of bread and wine becomes the body and blood of Jesus Christ. For other Christians, the breaking of the bread and the elevation of the wine is simply commemorative, a wonderful memory of an event past. For Roman Catholics, under the pain of mortal death, they are to believe that when they partake of Holy Communion they are eating the flesh and drinking the blood of Jesus Christ.
While I will not argue the one or the other and remain at a safe distance I will state here that, "Do this in remembrance of me," is truly beautiful and my modus vivendi.
In the last four lines of my mother's poem she writes:
Those lines (I was a fellow passenger of my mother in Tram 35) hit me every time when my daughter and her two daughters come four our usual Saturday evening dinner. Because it is winter I have a roaring fire waiting for Hilary when she gets here around 6:30. I put lots of effort into making a very good meal and having a family film DVD to watch after. Then I take them all home and while they are in the car I think of my mother and how at the very least for one day of the week, Hilary does not have to work, or cook, or wash dishes and simply can sit down in the warmth that Rosemary and I have given her.
I have kept the Arts section of the NY Times of January 16 knowing I would eventually quote from A Swinging Party With Old Friends (Nate Chinen – Music Review) which is about a ceremony for the 2013 National Endowment of the Arts Jazz Masters award.
During the ceremony and performance one of the recipients, pianist Mose Allison, "said little except in song, playing Was, an original parlor waltz featuring his daughter, Amy Allison, on vocals. It's a meditation on mortality, infused with more curiosity than self-pity; it suggests that the afterlife has a lot to do with the simple matter of being remembered.
In remembrance of my mother and my father, what I do during the day, I do so and dedicate to them often. They live on.
Addendum: Dalí's painting is in a hallway at the National Gallery in Washington DC. When you go from the old wing of the museum to the new you pass by this painting, its only decoration. At the end of the hallway you will find, appropriately, the excellent museum cafeteria.
Link to: Do This In Memory of Me
Ride The Cyclone, The Dead & The Half Dead
On Tuesday, Rosemary and I attended the opening performance of Jacob Richmond's (with music and lyrics by Brooke Maxwell and Jacob Richmond) Ride the Cyclone at the Arts Club's Theatre Company's Granville Island Stage. This musical is the Arts Club's participation in contributing to this year's PuSh festival.
PNE, June 1992
This PuSh Festival collaboration always means that Millerd's supremely funny presence, a longstanding tradition, and introduction in every Arts Club opening ("turn of all those devices that might annoy your neighbours") is diluted by "old stone face" Norman Armour, the Executive Director of the PuSh International Performing Arts Festival.
But it would seem that Armour is loosening up and the usual Dean Martin/Jerry Lewis or perhaps Laurel & Hardy comedy team brought me more than one expression from that serious man's face!
The musical about 6, 17-year-old teenagers, members of a high school choir based in Uranium, Saskatchewan a one horse no half-life town, who die at the top of a roller coaster, The Cyclone, started with the haunting singing (no words) of a young woman with her back to the audience. But just about there I became confused as this show has a stage and stage curtain that is behind the 6 performers and Karnak, voice by Carey Wass, the carnival soothsayer (who must also moonlight at a middle-of-the-night FM station, he has a soothing voice). The confusion is short-lived as I came to realize that one side of that curtained stage is life, and the one closer to the audience is a limbo between life and death.
The musical then unfolds with the five (and one woman oddly neither here nor there) singing a justification for their existence in front of Karnak who is to decide in an odd unanimous decision, for their flawed existence cut short by the Cyclone.
All five (for the sixth just wait!) performers, Rielle Braid as Ocean Rosenberg the overachiever, Kelly Hudson, as Constance Blackwood, Ocean's chubby friend, Elliott Loran, as Ricky Potts the member of the chorus who cannot speak or sing, Jameson Matthew Parker as Misha Bachinsky, the not-so-tough Ukrainian knows to kiss other men, and Kholby Wardell, as Noel Gruber, the sensitive effeminate who turns into the most macho while wearing fishnets and black lingerie, have great stage presence and powerful voices.
But it was the mysterious sixth, Sarah Jane Pelzer, as Jane Doe (appearing in the beginning holding a headless female doll) that intrigued me and took me back to a stripper's stage in Las Vegas, back in May 1983. I was a judge at the first Golden G String festival with fellow judges Tempest Storm and a Las Vegas mafioso with a bulge in his armpit.
We were watching the crème de la crème of exotic dancers from all over the world but especially intrigued by one who wore a cowboy hat to shield her face as her layers of clothing were removed and we were supposed to marvel at the grace and beautiful body. We were simply not interested. We wanted to see the face, not as those into things crude would say, "her tits".
And so it was with all those five performers giving strong performances I had only time and desire to hear the woman who in the beginning had impressed me with an unearthly high voice. She walked like a zombie and her face was a ghostly made up white. It took a while for me to figure out that if her five companions were dead in limbo she was undead nowhere.
I don't want to reveal more here except to point out that this is a musical that should be attended by teenagers. There is a message there for all of them, with good music and a good band (besides the monster mash band, the five performers also happen to play recorders, a guitar and an efficient accordion).
Reading the credits of the performers it soon became apparent why Jane Doe's song was so Kurt Weill-like. Sarah Jane Pelzer as she sings Kurt Weill songs with The Annex String Quartet. This performance was breathtaking.
I was pleased to find out at the end that Jane Doe, back in the land of the living, might help persuade Mr. Armour to smile more next year. Meanwhile let's get more young ones to attend this terrific show.
Link to: Ride The Cyclone, The Dead & The Half Dead
Architectural Physiognomy
Sometime around 1967 I visited my friend Robert Hijar in San Francisco. It was during the middle of the Hippie era in the Haight-Ashbury district folks, you didn't know and had never seen before, would sit at a table with you and ask you if you were happy.
I had just returned from a two year stint in the Argentine Navy and I had no idea of what I was going to do with my future. I was 25 and had not finished my engineering degree. I had been short circuited by the induction-resistance-impedance-capacitance that was the mystery of electricity.
One day I took a cable car to Fisherman's Warf and somewhere where the cable car began to go down a hill many young people stepped off. They seemed eager and happy. I asked them where they were going. They told me they attended the San Francisco Art Institute on Chestnut Street which was where the cable car had stopped. I followed. It was a beautiful school and I asked one of the students what he was studying. He told me, "I am getting a Fine Arts degree in Photography." It was only then that I understood that photography was a career.
Years before I had made the usual list: doctor, lawyer, architect, teacher and engineer. I eliminated all as possible careers. Feeling guilty I opted for the last one to which I was ultimately going to fail. Later on I was to become a teacher, a profession I had eliminated from my list.
To this day I wonder what would have happened if I had known of the existence of the San Francisco School of Art. Would I be today teaching at Emily Carr University of Art & Design fully qualified with a Masters of Art in Photography? Probably not. Had I stayed in San Francisco I would have never then immediately returned to Mexico City. I would have not met my Rosemary, the beautiful blonde Canadian who would ultimately convince me to move to Vancouver.
In 1962 I took the picture you see here in a church somewhere in the outskirts of Mexico City. I shot it with a Pentacon-F, a 50mm lens and with Kodak Tri-X film. That negative lay buried amongst others and I did not notice it until today when I scanned it and uploaded it here. If anything in the wonderful and magical parlance of photography, that image probably process with much excitement the very day I took it was in latency (not entirely correct as latency is the image in a negative or slide that is unprocessed) until today.
Obviously my architectural shot was an experiment in a direction that I had yet to take. It was quite a few years later when I became much more interested in human physiognomy.
With this old picture finally making its appearance not as the traditional darkroom print (had I initially noticed it I might have in 1962) I can only state that I am glad I never went to that art school in San Francisco. I became a photographer. And I have no regrets.
Link to: Architectural Physiognomy
Dave Gregg's Guitar
From left: Marv Newland, Dave Gregg, Les Wiseman, Rick Staehling
In the late 70s my two favourite Vancouver bands were Art Bergmann's the Young Canadians (originally called the K-Tels) and D.O.A. The Subhumans were a close third.
I liked the Young Canadians (a three piece band) because they were tight and minimal. Art Bergmann's guitar did not need a second fiddle.
I liked D.O.A. because it was a loud two-guitar band that featured a jumping and awesome bass player, Randy Rampage and a drummer Chuck Buscuits who was loud and active. But the prize went to the second guitarist (Joey Shithead played guitar and was the lead vocalist and song composer) Dave Gregg. He played with an eternal smile on his face that felt to me like he was always surprised that he could play so well and get the sounds that he got from his guitar.
For my picture taking I always stood right next to Gregg (on stage left) by his monitor. Paradoxically for those who might not know, a very loud band is less so if you hover around the monitors. Here I felt protected and nobody was about to toss me around. Gregg was my guardian angel.
When D.O.A. lost Gregg my passion for the band diminished a tad. When Randy Rampage left the band a few years ago my passion disappeared.
If anything it all proclaims that the good times of our past (and mine) cannot really be repeated. We all move on.
I chanced on this negative in my darkroom today. The four men, Marv Newland, Dave Gregg, Les Wiseman and Rick Staehling (perhaps Marv Newland may be the exception) look like beer may have been in their thoughts the moment I took the picture. This is a rare picture of Vancouver Magazine art director who not much after this picture was taken decided that the hassle of going to a concert did not compensate with the idea of listening to a band live. It was better enjoyed by buying the record or the CD. I believe that the venue for the photograph is the Commodore Ballroom.
Link to: Dave Gregg's Guitar
Swerving Towards Metriopatheia
Not too long ago I mentioned here my discovery that I no longer had to listen to my favourite CDs. It seems that old age brings some strange benefits. The music is in my head and I can listen to Gerry Mulligan play My Funny Valentine in the many (about 8) different recordings that I have. It is as liberating as my now useless talent for listening to scratchy LP records with my built-in-my-head scratch filter.
We have a Sony Trinitron TV with a 21 inch screen. It gives an image, not especially sharp, via a cathode ray tube, the very same device inside my monitor on which I am now writing this. Rosemary and I have the TV in our smallish den. We are close to the TV so the image is just fine. We will buy one of those flat screen devices only when our Sony gives up the ghost.
It has been at least a year since we dispensed with three meals a day. We follow our light breakfast with a meal around 6 when we watch the Rachel Maddow Show on MSNBC. We have yet to invest in TV trays but I can see them coming soon. Our meals are very good as we have fresh fruit, salads, fruit drinks done in the blender and we eat barbecued chicken, and small portions of barbecued meat or done in the oven. Our desserts are either yoghurt or yoghurt ice cream.
But we have been known for spoiling all that with little obsessions for candy bars. A couple of years ago they were Butterfinger Bars, until recently they were Mars Bars. Rosemary's technique is to put the Mars Bar on the kitchen counter and to slice thin portions with our kitchen knife. But before you know it the bar is gone.
It has been two months since my desire for Mars Bars completely disappeared. There are times when I think about what I might want to eat just for pleasure and my imagination goes blank. I have lost my appetite.
In Mexico City, back in December, I saw so much food being consumed on the street and on the street corners that I always felt full. I never did eat all the meals I vowed I would eat in Mexico.
Without being philosophical or thinking about the teachings of Epicurus I feel that at my age of 70 I am now living a life of Epicurean moderation.
There is only one more aspect of Epicureanism that I must master:
Non fui, fui, non sum, non curo (I was not; I was; I am not; I do not care)
Link to: Swerving Towards Metriopatheia


Nine months ago I began to see the huge holes in the bible. I was a devoted Christian, and I even preached for 2 years. It was this that lead to my discovery of small mistakes and contradictions in the bible. That in turn lead to my mind opening up to the possibility that the bible was full of myths and lies. Once I began to read and study peoples works like Thomas Paine and Robert Ingersoll the blinders came off and I have never looked back.


Lifebanc works with nearly 500 funeral homes in Northeast Ohio to facilitate the respectful care of all organ, eye and tissue donors. Funeral home directors with questions about the donation process can contact Mike Czup, Funeral Home Liasion at MikeC@lifebanc.org.
Lifebanc reimburses funeral homes for reasonable and customary costs directly incurred by funeral homes as a result of the donation process. Costs related to the donation process should not be passed on to the donor family.
A care package with funeral and embalming supplies is sent with each donor specific to tissues recovered. Additional supplies and assistance are available upon request.
Lifebanc offers in-service and educational programs for funeral home staff. Programs can be designed for 1, 3, 6, and 9 hours of continuing education units. Please contact Mike Czup (MikeC@lifebanc.org) for more info.
Donor families may be unaware of the opportunity to honor and celebrate the decision their family member made to give the gift of life through organ, eye and tissue donation.
Lifebanc is appreciative of donor families who provide the opportunity for friends and family to honor their loved ones through tribute and memorial gifts. Each tribute and memorial contribution is appropriately acknowledged. Contributions can be made online or sent through the mail.
A personalized memorial box is given to each donor family to provide a place to keep special items that families connect with their loved one. Families are informed that Lifebanc will deliver the box to their chosen funeral home and to pick it up there. This box is delivered to the funeral home in one of two ways, either sent directly with the donor or hand-delivered by one of the Lifebanc staff. If additional resources are needed to support multiple services, please contact Lifebanc to check on availability.


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redpajama_set_name: RedPajamaGithub


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Isaac Mendez är en rollfigur i NBC tv-serien Heroes.
Han har drogproblem och upptäcker att han kan måla framtiden när han är under påverkan av heroin.
Hans flickvän och konsthandlare Simone Deveaux lämnar honom på grund av hans drogproblem. Isaac tjänar pengar genom att ge ut framtids-serier. Som genom stora delar av de 3 första säsonger hjälpt hjältarna i deras strävan att rädda världen. Den som mest fått hjälp är Hiro Nakamura som genom serierna vetat vad han ska göra.
I första avsnittet tar Isaac en överdos av heroin. Simone och Peter Petrelli hittar honom liggande på golvet. Han får hjälp av Noah Bennet att kontrollera sin förmåga och behöver inte längre heroin för att kunna måla framtiden. Han målar en tavla av Sylar och förstår att han kommer att bli dödad. Några dagar senare kommer Sylar och mördar Isaac och tar hans förmåga.

Referenser

Fiktiva figurer från New York
Rollfigurer i Heroes
Fiktiva figurer introducerade 2006

pl:Postacie z serialu Herosi#Isaac Mendez
fi:Luettelo televisiosarjan Heroes hahmoista#Isaac Mendez

redpajama_set_name: RedPajamaWikipedia


Gentle Giants. Gorgeous, big fluffy babies. Black and white, cream and white, Mostly black or all white puppies available. Adorable, affectionate and snugly babies.Ready for lots of love from their new families. Vaccinated, wormed, delivery also possible. Price Negotiable. No e-mails please!


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California Cannabis Ventures
Cannabis Business and Legal Articles
Marijuana, the Olympics, and LA 2024
August 24, 2016 Wesley H.
Not surprisingly the Olympics has had an interesting and evolving relationship with marijuana. The World Anti-Doping Agency (WADA) banned the use of marijuana in 1999 and multiple Olympians were stripped of their medals and other penalties for testing positive for marijuana in drug tests. American judoka Nicholas Delpopolo was ejected from Olympic competition in 2012 after testing positive and Michael Phelps, the most decorated Olympic athlete of all time, was suspended from swimming competitions for six months for marijuana use.
But the world is changing, which is forcing the IOC to rethink some of its positions.
WADA recently amended its rules on cannabis, raising the threshold for a positive test from 15 nanograms per milliliter to 150 ng/ml. In 1998 at the Nagano Games, Rebagliati recorded a level of 17.8 ng/ml, and argued the test resulted from second-hand smoke, which he still says. Ben Nichols, a spokesperson for WADA, said the raising of the threshold is meant to catch only athletes who smoke during the period of a competition. The drug isn't prohibited out of competition.
"Our information suggests that many cases do not involve game or event-day consumption," Nichols said. "The new threshold level is an attempt to ensure that in-competition use is detected and not use during the days and weeks before competition."
Raising the threshold level to 150 nanograms per milliliter means that an athlete would have to be a "pretty dedicated cannabis consumer" to test positive, according to Allen St. Pierre, executive director of the National Organization for the Reform of Marijuana Laws (NORML).
New sports such as the addition of skateboarding could make it even harder to keep Olympics and pot separate. Some have suggested that IOC drug testing for marijuana could steer many of the world's top skateboarders away from the Games.
An even bigger intersection between Olympics and cannabis will happen if: a) Los Angeles is awarded the 2024 Olympics; and b) California passes AUMA in 2016 (adult use legalization). This would mean that athletes and visitors coming to the Olympics would be able to legally purchase and consume marijuana (a first for an Olympics games location). By then marijuana could be a $10b business or larger just in the state and the acceptance of pot for both medical and recreational uses will have grown even stronger. It's also hard to imagine that like other businesses savvy cannabis brands won't try and leverage the marketing opportunities presented by the Games. Will this be an opportunity for a Ryan Lochte sponsorship?
In Fun Tags Marijuana, Medical Marijuana, Olympics
California Cannabis Ventures Copyright 2017


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ABC, Breaking News, Cheryl Burke, Covid, Dancing with the Stars, Safety, Television, TV News
'Dancing With the Stars' Contestant Cody Rigsby Tests Positive For Covid Days After Dance Partner Cheryl Burke Did, His Future On Show Uncertain
Dancing with the Stars contestant Cody Rigsby — a Peloton fitness instructor sometimes called the "King of Quarantine" — announced today he has tested positive for Covid-19, just days after his dance partner Cheryl Burke also came down with the virus. It's the second time Rigsby, who is vaccinated, has tested positive.
Rigsby, who gained fame as people switched to home workouts during the pandemic, announced his diagnosis on Instagram.
"Hi friends, I wanted to check in with you to share some news. While I am fully vaccinated and took many precautions, following CDC guidelines, I recently tested positive for Covid-19," the 34-year-old Rigsby wrote. "To properly rest and recover as well as avoid exposing others, I will be taking a break in the coming days. I appreciate all your support, and I'll be back as soon as I am ready."
In an accompanying video, Rigsby detailed his symptoms.
"I have tested positive for Covid again, the second time this year," he said. "I right now have really mild symptoms — congestion, little bit of a headache, cough — but in comparison to when I had Covid earlier this year, it is night and day, so that must be the vaccine and the antibodies working. So we're super grateful for that. As far as my fate on Dancing With the Stars, we are still trying to figure that out right now, so please be patient with that answer."
His Dancing with the Stars partner, Cheryl Burke, also tested positive for the virus and was in quarantine as of Monday.
In an Instagram video posted late Sunday, Burke said she was fully vaccinated with the Moderna vaccine and felt bad about disappointing her dance partner.
"I just hope I didn't spread it. For those of you who don't think Covid is a real thing, it's (expletive) real, dude," Burke, 37, said.
Rigsby was supportive posting, "Send our boo @cherylburke all the love and support as she kicks covids a$$!"
Burke said she planned to quarantine for 10 days, while expressing disbelief that she caught the virus.
City News Service contributed to this report.
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A young climate change activist who had superglued his hands to the mast of the pink boat occupying London's Oxford Circus was removed and arrested on Friday as part of police efforts to stop the blockade and remove the boat from the street. The Metropolitan police has come under increasing pressure to crack down on the Extinction Rebellion demonstrators who have blocked transport networks in the capital in recent days. Police said on Friday that more than 600 arrests had been made relating to the protest.
Extinction Rebellion have called for non-violent civil disobedience to oblige the British government to reduce net greenhouse gas emissions to zero by 2025 and stop what they call a global climate crisis.
I've been asking myself a question – and even posing it makes me queasy.
Is it too late – are we beyond saving?
Virginia's Air Pollution Control Board approved a final cap-and-trade regulation from the state's Department of Environmental Quality on Friday, bringing the state closer to joining the northeast US RGGI carbon market in Jan. 2020.
Extinction Rebellion activists reported an influx of supporters on Friday, as the Easter holiday, balmy weather and promises of support from school strike leader Greta Thunberg injected new momentum into the weeklong climate protest.
Eight in 10 consumers are trying to reduce their plastic waste and half would be willing to pay higher prices for eco-friendly packaging, according to a survey that highlights the impact of the Blue Planet documentary and the campaign to reduce such rubbish.
The research by YouGov shows 46% of people in the UK feel guilty about the amount of plastic they use, which is motivating them to consider changes in their behaviour, including paying more so companies will find alternatives to single-use plastics.
Youth activists have taken the Extinction Rebellion protests to Heathrow on the fifth day of action, demonstrating beside the main roundabout on the road to the airport.
The activists, all born after 1990, unfurled a banner asking: "Are we the the last generation?" as dozens of police prevented them from blocking the road.
A five-fold expansion in open net fish farms that scientists believe could decimate Iceland's wild salmon stocks is pitting Big Aquaculture against ecologists in the country.
Next month, a parliamentary bill is expected to extend farm licenses from 10 to 16 years, while omitting critics from oversight panels and handing primary monitoring powers to industry.
With Extinction Rebellion making headlines and Sir David Attenborough broadcasting The Facts on BBC One, climate change has gone mainstream this Easter. A nation has been watching protesters glue themselves to trains, turn London's roads into gardens and actively invite arrest in their hundreds.
As a media strategy it is working. How did glueing yourself to a train highlight climate change, Radio 4's Today presenter Nick Robinson asked Dr Gail Bradbrook, an Extinction Rebellion co-founder. "It gets you on the Today programme," she replied.
One protester is in custody and another was taken to hospital after Extinction Rebellion activists stepped in front of a moving coal train headed for the Port of Brisbane.
The train driver was forced to slam on the emergency brakes after a group of protesters climbed on to the freight tracks in Wynnum on Thursday afternoon, police said.
There is growing scepticism amongst analysts that Germany will agree to cancel a sufficient number of EU carbon allowances, if any at all, to offset the emissions impact of phasing out its fleet of coal-fired power plants.