text:
The Last Show: Why You Should Come, Part I
This is the nice post. For the no-holds-barred skinny on what really happened at Evergreen, click here.
They're closing the last color darkroom. Evergreen College, famous worldwide (not an exaggeration) for its liberal arts programs and unique freeform educational structure, has new management. Uh-oh, you're thinking.
You would be right.
The new management has, in its wisdom, decided to permanently shutter many of their internationally renowned art departments– drama, motion picture film, and others... but most crucially, their color darkroom. Why such a fuss, you ask?
It's basically the last one in the United States. Yes, three others remain on our continent, but they're all either smaller, less well run, harder to gain access to (try Googling them!)... in so many words, Evergreen was always the best, the last holdout of quality analogue color.
We forget that color film is (was?) one of the newest and shortest-lived of art mediums, one of the last invented before the glut of ones and zeros came along and jump-started society's obsession with speed over quality.
For a mere forty-odd years, you could throw a roll of 35mm Color in your inexpensive (and unbreakable) Pentax K1000 and capture light with a vibrance and organic richness digital media still can't compete with. Digital gives you thousands of colors. How adorable. Film gives you millions. Digital is a fine medium and looks lovely... as long as it's the only thing you're looking at.
Inkjet and laser prints give you black ink; again, how cute. Photo paper gives you silver halide crystals burned by light. Does anyone really think black ink has something over on burned silver crystals? Put the two next to each other, and you'll see what deep blacks are supposed to look like.
Or try scanning a cross-processed negative, and look at how the computer tries to grasp the subtle aberrations of the tone curve. You'll start to chuckle, realizing your high-end scanner doesn't have the faintest idea how many colors green is. The same with your $3,000 Canon, which can't get the range of skin tones your $50 film camera and $5 roll can in its sleep.
We know this isn't anomalous in materials manufacturing. Ask your grandpa what they used nylon for during the Great War. Ever notice how his shoes last forever too? How the zipper on your grandma's coat slides more smoothly than your three-year old Columbia jacket? The way your grade-school backpack lasted longer than the one you use now. We've grown to accept poor quality in most of the products we're invited to repeatedly consume. Take your ancestors to the shelving section of IKEA, and try telling them any of the items are "sturdy bookcases." You know they would dissolve in peals of laughter.
This isn't nostalgia. It's common sense. Film yields a better image. Yes, you need skill. You need patience. Yes, it requires more infrastructure. But who would expect quality without such a price?
You're probably thinking Evergreen is cutting their program for the same reason many other schools and art centers have over the years: money. Black and white darkroom is cheap and easy. It isn't going anywhere. Color is unique, toxic, requires a different skill set. You don't work under a red light; the prints have to made in pitch-black darkness. You can't touch the chemistry. The processor (above, center image) is the size of a small car.
But Color isn't a major expenditure when your processor, equipment, and other infrastructure are already in place. Evergreen's lab is by far the best-running, most organized, most kept-up of any lab in the US (again, not an exaggeration– we're discussing a pretty special place here). Compared to some of their other programs, it's not very expensive. The photo director just retired; find another. There are knowledgeable people out there who are willing to teach. They are having budget issues, but cutting Color isn't a major savings at all. Plus, everyone knows what you do if you're a school in need of money; cut your science, medical, and business programs, and watch new funding flow in a year later. No, money isn't the reason. They'll try to tell you it is, but it isn't. They have the money for this.
It's laziness.
Among the new management team is a woman who says "color photography is a joke." She's said that and similar remarks to artists. To students. To staff. The administration could expend the effort to hire staff to teach a practice that's been taught for decades, during a time when film is gradually regaining popularity, when a large and loyal majority of staff and students embrace these arts, when an entire community has grown out of the surrounding cities who use the darkroom... but they'd rather ignore these facts and kill their darlings. I don't believe I'm being unfair here. They could've consulted with the professors, or asked the students what was important to them. But they were lazy. (Click here for even more dirt on what went down.)
I have friends who've traveled from Germany to study at Evergreen because of its unique offerings. I've traveled down there myself countless times because, well, it's the only color darkroom. Others come from Portland, Poulsbo, Vancouver and more for the same. I doubt the administration has a clue. In ditching the very golden geese that made their institution so praised in so many cultured circles, they reveal they've forgotten something fundamental:
Art is the only profession that explores the act of what it means to be alive.
Everything else is secondary.
Several years ago I was told that stewardship would be the new buzzword of our time, that young people would care about culture, about helping each other and bettering society through thoughtful expression. Actions like that of Evergreen's new administration are why this hasn't happened. When a culture doesn't have art, it stops being a culture.
But: enough moping!
What do you do when the end is near? Learn how to say goodbye. Through the good graces of several key players, I've been able to print like crazy this last week. This last color darkroom closes forever on the 30th, and I've been making every minute count.
My photography practice, ever since graduating UW a decade ago, has centered around analogue color photography. I've put black and white printing aside because I knew this day would come earlier. We would lose color first. Now it's happening. And I'm ready.
They say it takes about an hour to test, print and finalize one picture in the color darkroom; I can make 100 prints in eight hours. I mention community above, and I do value the wonderful people I print with, but you won't catch me making much small talk. I keep my head down and churn out as much as I can. Time is short. It's like passing the bar and then learning the profession of lawyers is being eliminated. I got a degree centered on how to do something that won't exist next month. I don't regret it.
This is our time.
We came in at the end, but we were still here. Very soon it will be impossible to make an analogue color image. People will forget what they look like. They'll lose the sensation of looking at an original– that feeling you get when viewing a painting– when they see a color picture. Paintings are precious because they can only be made once; shortly color photo won't even be able to be made at all. As though they disallowed paint and brushes.
I have a solo show on the second Saturday in October, at ArtForma in Georgetown. It will last for only one evening, and given what I'll be showing there I find that fitting. The large-scale portraits you'll see on display will forever be the last, and therefore permanently the newest, analogue color prints you're likely to ever see.
The technical details briefly mentioned above are fun, but ultimately unimportant; it's about what we feel, looking at the images. The organic, handmade object, like ourselves; an original, slightly different from all the rest, ephemeral and delicate and sensitive; strong and vibrant, but most notable for its subtleties.
Doesn't that describe your favorite person, the best parts of life?
It won't be the best show, nor the worst. But there'll never be another like it. You owe it to yourself to stop by.
ArtForma Visual Art Space is located at:
6007 12th Ave S, Fl Second
The show will last from approximately 5pm-9. Look for further details forthcoming.


The Hellboy Timeline: From Beginning to…End?
LAST FIVE DAYS! Let's Kickstart The Goon Movie!!!
Archaia's The Reason for Dragons Hits stores in 2013, Creators at This Weekend's Long Beach Comic and Horror Con!
Captain America: The Winter Soldier Gets Crossbones, Fury, Hill, Black Widow and More!
Axe Cop Animated Halloween Clip + Axe Cop Voiced by Nick Offerman!!!
Yeah! The trailer for next year's Iron Man 3 hit today, and it looks great!
Iron Man 3 Poster + First Look at The Mandarin!
CW's Arrow Picked up for a whole season + Check out Deadshot!
Just got this from Image Comics… interesting! Big fan of Ryp's art, should be great!
Help Fund The Goon Film on Kickstarter!!!


Carasol Parasol Saves You From The Sun - But Do You Have The Guts To Walk Around With One?
News Updates: Siriano Pops Up At Bluefly, Hayden-Harnett Next At Target?, And More..
Taste Test: Which Metallic Handbag's Price Tag Outshines The Other?
Good Question: Where Can I Find A Portable Purse Hook?


1/12/2018 · Content Writer. 12,000 – 16,000 a month – Full-time, Fresher, Job Description. Job Summary. We are looking for a Content Writer to join our editorial team and enrich our websites with new blog posts, guides and marketing copy.... 9/10/2018 · Click on the link for any job title, then click on the "Apply to job" or "Add to job cart" buttons located below the job description. Create your resume using the Microsoft resume interface provided. You will also have the option to paste your resume into a text field.
Sir., I am studying in Engineering direct seconder student SIT Lonavala, Pune. I want information about eligibility citeria in microsoft company for job.. so please give reply..... and likely as said by kranthi,all are freshers at some point of tym in life :) But In ax point of view, to get a job on this technology would lil difficult but opportunities are all around. Try hard and u will be in.. always i wud say "MSDAX' is a great technolgy-with high profile & carreer.
It isn't going to automatically get you a job. Think of your resume this way: It's an advertisement, and YOU are the product. Your goal is to get hiring managers to buy into what you're selling – which means giving you an interview.


text:
Amaranthus arenicola I.M.Johnst., es una especie de plantas de la familia Amaranthaceae.

Hábitat
Es una planta que se encuentran en muchos estados contiguos de los Estados Unidos. Se trata de un especie anual que se encuentran en zonas arenosas, cerca de ríos, lagos y campos. Es nativo del centro o sur de las Grandes Llanuras, que se extiende desde Texas hasta Dakota del Sur, y se introdujo a otras zonas.  Esta floración de plantas pueden crecer hasta 2 metros  de altura.

Taxonomía
Amaranthus arenicola fue descrito por Ivan Murray Johnston  y publicado en Journal of the Arnold Arboretum 29(2): 193. 1948.
Etimología
Amaranthus: nombre genérico que procede del griego amaranthos, que significa "flor que no se marchita".

arenicola: epíteto latino  que significa "que vive en la arena".

Referencias

Enlaces externos

Jepson Manual Treatment
Flora of North America: Amaranthus arenicola in the U.S.
USDA: Distribution in U.S.

arenicola
Flora de Estados Unidos
Plantas descritas en 1948
Plantas descritas por I.M.Johnst.

redpajama_set_name: RedPajamaWikipedia


Dynamic Webs are offering comprehensive design solutions for the commercial sector. We Design web sites for result with a practical approach in which communication is senior to technology. Dynamic Webs are passionate about providing solutions that represent real value for money. We also make the business of doing business easy.
Customers appreciate our deep understanding of their business issues, our knowledge of critical success factors, and of how to gain an advantage in a competitive environment. As a result we can offer you a choice of cost effective solutions.


UPenn grad Andrew Toole is another in the long line of mid major coaches who struggles to build a team due to the constant poaching of talented players. This time it was Nebraska of all teams, that stole all conference guard Dachon Burke. Burke was at least the 5th talented player to be stolen from this roster.
Still, Andrew Toole once again brought in a terrific recruiting class last year. He allowed his freshman recruits to play. Toole is an excellent coach. The freshman are now sophomores. Even with Burkes transfer, they figured to be much improved this season.
Early results did not show that to be true. They began on the road, losing by double digits to both USC and Missouri State. They returned home and struggled to beat a bad Mississippi Valley State squad. They then had to overcome nine turnovers by point guard Jon Williams to win at Stetson, before being buried at Purdue.
They came back home and played their best game of the year in their last outting. The Colonials used a big second half run to bury Youngstown State 76-56. What was most impressive was that Robert Morris committed only seven turnovers.
Last year Jon Williams had a rough go of it as a freshman point guard. Toole is now using Matty McConnell (who had a double double against DU last season) to help run the team. Frosh Dante Treacy has done well in his brief stint at the point behind them. Williams had one assist and nine turnovers in that brutal game against Stetson. He had four assists and only two turnovers versus a Youngstown team that generates many. Evolution.
With the point guard situation shored up and confidence gained from a big win, Robert Morris could be on the verge of a big improvement. Last year it was the now departed Burke that helped Robert Morris run out to a big lead in what became an easy win over Drexel. Burke may be gone, but Robert Morris is now even better. That is bad news for a banged up Drexel team. Sure they are home for the rematch, but with Lee out and now Walton seemingly hurt in the last contest (wrist), Drexel's depth and talent are lacking.


text:
/**
 * Auto-configuration for actuator Flyway concerns.
 */
package org.springframework.boot.actuate.autoconfigure.flyway;

redpajama_set_name: RedPajamaGithub


text:
Kylian Mbappe brace leads Paris Saint-Germain past Nantes, but Vitinha injury a cause for concern
Paris Saint-Germain continues to lead the way in Ligue 1 after a 3-0 win away at FC Nantes ensured that Olympique de Marseille's time at the summit was brief. Kylian Mbappe scored twice and Nuno Mendes added a third at Stade de la Beaujoire on Saturday with Antoine Kombouare's hosts down to 10 men for over two thirds of the game.
The sole negative for Christophe Galtier was a first-half injury to Vitinha which the French tactician will hope is not too serious given the Portuguese midfielder's growing importance to the starting XI. PSG switched things up with Neymar and Sergio Ramos taking a breather and starting from the bench in Nantes, but it did not slow Mbappe down and the French superstar was clinical inside of 18 minutes.
Messi teed his strike partner up and Mbappe gave Alban Lafont no chance with a finish reminiscent of the 23-year-old's hat-trick strike in Barcelona back in early 2021. It took until nine minutes into the second half for the combination to work again with Messi patient in providing a simple finish for the No. 7.
That is where Mbappe's involvement ended with Neymar coming on his place and Marco Verratti also withdrawn as Ramos was sent on. The Brazilian needed just a few minutes to get involved and hit the post before Mendes followed up to score as PSG eased to victory and gave valuable minutes to the likes of Hugo Ekitike too.
It was an ideal warm up ahead of Juventus in the opening Group H fixture of this season's UEFA Champions League (on Paramount+) and Galtier will be encouraged by this result and the midweek win over Toulouse. Messi got two more assists there while Mbappe, Neymar and Juan Bernat scored as some key figures were rotated for freshness ahead of a busy run.
Vitinha's injury is not good news, but the late transfer window arrivals of Fabian Ruiz from Napoli and Carlos Soler from Valencia gives Galtier a wider range of alternatives than just Renato Sanches. The Portuguese who was signed from Lille OSC earlier this summer is yet to blend in seamlessly and Danilo Pereira is now starting to get more minutes as Galtier keeps his squad's condition in check.
"He took a big blow to his knee," Galtier said of Vitinha after the final whistle. "There was no twisting nor is there a ligament risk. We will see if it becomes a hematoma. We will do what we can to get him back for Juve and see how he reacts, but we will go with somebody else if we have to."
AS Monaco have been PSG's one true test so far this campaign which ended in a draw and keeps them level on points with the likes of Marseille and potentially Olympique Lyonnais as well as RC Lens. Juve this coming Tuesday will arguably be the acid test of this encouraging early season at Parc des Princes and Les Parisiens do seem better prepared than they have done for quite some time.
What cannot be argued with is that this is the most convincing PSG have looked since Messi's arrival and that the star attacking trio of the Argentine, Mbappe and Neymar appear focused and primed for an assault across all competitions this term. A winning start against Juve and Galtier's report card will be looking pretty positive heading towards the international break later this month.

redpajama_set_name: RedPajamaCommonCrawl


There are two choices for the hiker at Todra Gorge. You can either go up, scaling the burnt orange limestone crumbling cliffs of the High Atlas Mountains, higher with every step, or carry on along the canyon floor into its bowels, deeper ahead. Both have their own perks. A bit like life itself.
Since most people tend to climb up, and I like to do things a tad differently, I decided to walk on straight. It was a long walk. Some four-and-a-half-hours long.
I started at the most visited and dramatic section, a 10-meter-wide chasm shared by both river and road, and penned in with towering perpendicular cliffs 160 metres tall. Stretched over a length of 600 metres, the tourist crowds usually do their U-turn here and go back.
Kruger National Park is nearly every South African's favourite place in the world. It is also part of every tourist's mandatory itinerary to the country. Covering an area of two million hectares, the game reserve is a realm in itself where wildlife reigns supreme and we humans are the outsiders, satiated with being mere audiences to a world that is complete.
No matter how many times one has been to Kruger, one can just never get enough of it. It is too big. It changes colours and moods with every passing day. Established in 1898 to protect the wildlife of the lowveld in the country, the park contains a mind-boggling number of animal and plant species together with centuries old cultural treasures such as rock paintings and archaeological sites.


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Q: howto: dynamically update markers from JSON on google maps I am trying to update the location of a marker with out refreshing the whole page. I have tried to use setTimeout(function() however I am having no luck..
here is my code I have so far..
thanks in advance
function initialize() {
    var mapOptions = {
       center: new google.maps.LatLng(35.66, -80.50),
      zoom: 8,
      mapTypeId: google.maps.MapTypeId.ROADMAP
    };
    var map = new google.maps.Map(document.getElementById("map-canvas"),
        mapOptions);

 var json = (function () {
        var json = null;
            $.ajax({
                'async': false,
                'global': false,
                'url': "getjson.php",
                'dataType': "json",
                'success': function (data) {
                 json = data; } });

            return json;})();
for (var i = 0, length = json.length; i < length; i++) {

  var data = json[i],
  latLng = new google.maps.LatLng(data.lat, data.lng);
var marker = new google.maps.Marker({
position: latLng,
map: map,
title: data.title
});

}

var infoWindow = new google.maps.InfoWindow();

google.maps.event.addListener(marker, "click", function(e) {
infoWindow.setContent(data.description);
infoWindow.open(map, marker);
});

(function(marker, data) {

google.maps.event.addListener(marker, "click", function(e) {
infoWindow.setContent(data.description);
infoWindow.open(map, marker);
});

})(marker, data);

  }

  google.maps.event.addDomListener(window, 'load', initialize);

here is my JSON output.
[{"lat":35.6606376,"lng":-80.5048653,"content":"bca"},    {"lat":42.6799504,"lng":-36.4949205,"content":"abc"}]

A: I would suggest using setInterval rather than setTimeout.
Here is some code that simulates an update via JSON in a fiddle, using your provided JSON with the required "description" member added for each marker:
var map = null;
var gmarkers = [];
var intervalNumber = 0;
setInterval(function () {
    new Request.JSON({
        url: '/echo/json/',
        data: {
            json: JSON.encode([{
                "lat": 35.6606376 + (0.01 * intervalNumber),
                    "lng": -80.5048653 + (0.1 * intervalNumber),
                    "content": "bca",
                "description":"first marker"
            }, {
                "lat": 42.6799504 + (0.01 * intervalNumber),
                    "lng": -36.4949205 - (0.1 * intervalNumber),
                    "content": "abc",
                "description": "second marker"
            }]),
            delay: 3
        },
        onSuccess: function (response) {
            update_map(response);
            intervalNumber++;
        }
    }).send();
}, 5000);
update_map = function (data) {
    var bounds = new google.maps.LatLngBounds();

    // delete all existing markers first
    for (var i = 0; i < gmarkers.length; i++) {
        gmarkers[i].setMap(null);
    }
    gmarkers = [];

    // add new markers from the JSON data
    for (var i = 0, length = data.length; i < length; i++) {
        latLng = new google.maps.LatLng(data[i].lat, data[i].lng);
        bounds.extend(latLng);
        var marker = new google.maps.Marker({
            position: latLng,
            map: map,
            title: data[i].title
        });
        var infoWindow = new google.maps.InfoWindow();
        google.maps.event.addListener(marker, "click", function (e) {
            infoWindow.setContent(data.description+"
"+marker.getPosition().toUrlValue(6));
            infoWindow.open(map, marker);
        });
        (function (marker, data) {
            google.maps.event.addListener(marker, "click", function (e) {
                infoWindow.setContent(data.description+"
"+marker.getPosition().toUrlValue(6));
                infoWindow.open(map, marker);
            });
        })(marker, data[i]);
        gmarkers.push(marker);
    }

    // zoom the map to show all the markers, may not be desirable.
    map.fitBounds(bounds);
};

function initialize() {
    // initialize the map on page load.
    var mapOptions = {
        center: new google.maps.LatLng(35.66, -80.50),
        zoom: 8,
        mapTypeId: google.maps.MapTypeId.ROADMAP
    };
    map = new google.maps.Map(document.getElementById("map-canvas"),
    mapOptions);

    // add the markers to the map if they have been loaded already.
    if (gmarkers.length > 0) {
        for (var i = 0; i < gmarkers.length; i++) {
            gmarkers[i].setMap(map);
        }
    }
}

google.maps.event.addDomListener(window, 'load', initialize);

A: https://developers.google.com/maps/documentation/javascript/reference
markerObject.setPosition(latlng:LatLng|LatLngLiteral)

I don't think you need to redraw the map, but in case you do:
google.maps.event.trigger(mapObject, 'resize');

redpajama_set_name: RedPajamaStackExchange


text:
Q: It is possible to pre buffer a HTML5 Video using another video element? I need to pre buffer a video fragment using HTML5 video element. The idea is to play the main video on the first player, and to start to buffer another fragment from the video (same file) on another video element.
Is that possible? Can the first video element access the buffer from the second one?
I've run some tests on Chrome, and it seems that they are different objects, and doesn't do a reference to the same video file buffer.


Athletes from virtually every major sport have invested in new automobile dealerships: Rick Hendrick, Roger Penske, John Elway, Troy Aikman, Evander Holyfield, Arnold Palmer, Michael Jordan, Scottie Pippen and Alex Rodriguez to call a couple of. In the event you posses the three issues mentioned above and you can walk, discuss, write and have a legitimate driver license you're a candidate. However, CAP is just not accountable for the privateness practices of these collaborating dealerships and/or automobile producers, which can use your information for their own purposes. Make the most of our expertise, and stop in at Wealthy Hartman's 5 Star Dealerships immediately!
Whatever sellers are selling theirs for, deduct $2,000-$4,000 for automobiles beneath $30,000 to get a ballpark of what dealerships are actually putting into vehicles. I'm being charged $460 for the Florida dealership to process registration and tags in Texas for me. Value in Texas: $eighty three.
Blue Sky is the intrinsic value of an automobile dealership, over and above the worth of its tangible property. The reason: people need extra for his or her commerce than what the dealership really needs to put into it. By believing they're getting $10,000 for the commerce and a modest discount on the truck, they are more inclined to drag the set off. In other phrases, the perfect individual final result is the be the one one open on Sunday.
Collaborating Dealerships and Car Producers: We may share your data with participating dealerships and/or car producers so that they can provide you with particular affords, promotional materials, and other materials that you just request or that we expect could be of curiosity to you.
In relation to selection and repair after the sale, The Fox Dealerships have been the premier vacation spot for brand new and used car buyers for close to forty years. Whatever sellers are promoting theirs for, deduct $2,000-$four,000 for automobiles underneath $30,000 to get a ballpark of what dealerships are actually putting into autos. I am being charged $460 for the Florida dealership to course of registration and tags in Texas for me. Value in Texas: $eighty three.
That you must put money into print advertising with newspaper inserts, also referred to as flyers, preprints, and free standing inserts (FSIs). Like many industries at this credit crunch time, auto car dealers are right within the thick of it, jobs could be misplaced or saved within the 'city', but jobs will solely be lost in this area, automobile makers have already laid workers off, down numbered the number of shifts, slowed, even stalled manufacturing on some vehicles, it's a worrying time for much too many households.
That is absolutely pointless and extremely annoying to the dealership (a lot so that it will possibly actually harm the ultimate negotiated trade difference – that is defined under). It's only one other thing the dealership may attempt to pull to keep you off balance throughout the negotiation.
With as volatile as the business world is today, it is entirely understandable that you might hesitate to start your own company without some sort of safety net to back you up. You may not want to stake out on your own without the brand recognition and customer following needed to gain a solid foothold in the market.
Rather than start from Ground Zero with your own company name and list of products and services, you could get off to a better start by becoming a franchisee. You can learn more about the company, discover what kind of upfront investment you need, and learn about auto franchise opportunities by visiting the website today.
A automobile dealership without video surveillance is a dealership waiting for disaster. From our humble begin in 1979 with Larry and Gail Miller's purchase of their first dealership in Murray, Utah, Larry H. Miller Dealerships has change into the 10th largest dealership group in the country, operating 60 dealership areas beneath 20 totally different automotive brands in seven western states, and employing greater than 5,000 individuals.
It is a essential dealer "trick" as a result of the overwhelming majority of shoppers consider their trade is price greater than it really is. Dealerships can "show" extra in the commerce by reducing their revenue and run much less of a threat of insulting their customer.


Since so many people are now renting out their central London properties rather than selling up, we're finding ourselves doing more and more removals in central London, something we're well-placed to do, given the handy locations of our sites and, more importantly, the years of experience behind us. It was in London that we started and where most of our activity today takes place. Our name may be Aussie, but we're Londoners at heart, with a knowledge of the backstreets and short-cuts to rival that of a cabbie. More people renting out means more people moving in and, with the current state of the pound, foreign investment continues apace.


Thank you. We enjoyed our stay very much.
Hotel was very clean, room was very large and well prepared (Junior Suite) and the staff were very helpful pre and during our stay. Luggage room available on arrival and checkout days so we could explore the city without carrying them around all day. Breakfast and coffee areas were fantastic and well catered for, Hotel is close to Montparnasse area (5 min walk), Paris center (40 min walk) and there is a bus stop right outside that takes you to Louvre area in 5 mins and cost just £1.50 single adult! Finally the area has some great restaurants and cake shops to eat at... Will definitely recommend and stay again when in city.
We have stayed at Le Royal several times over a number of years and have always found the staff to be friendly and helpful. The rooms are clean and tidy and the breakfast has a variety of choices to set you up for a day in Paris. We will visit Le Royal on our next trip to Paris.
Stayed at Le Royal for four nights. Had great experience. Staff is wonderful Hotel very clean excellent breakfast and at a super location. Our place for future return.
Very good stay, very nice area. Staff professional. Breakfast good.
The staff was great! Front desk staff were especially helpful. Great clean and comfortable room. Highly recommend!
Good hotel in a good location to explore Paris. Good restaurents nearby.
Clean, beautiful, quiet, comfortable room. Delicious breakfast. Very friendly and helpful staff.
This was my fourth stay at Le Royal Hotel, and I will return. The hotel is close to transport and within walking distance of many sights. The rooms are large, by Paris standards, and well-kept. I found the desk staff friendly and helpful. Breakfast is in a large pleasant room under a skylight. Overall, a very nice experience.
We were greatly satisfied with our stay at the Royal Hotel. Modern furniture, carpeted staris, quiet aerea. Our room was very spacious, something not so common in Paris, with a very comfortable bed and pillows. The bathroom with a bathtub and shower. The satff were very friendly, both at the recption desk and the dining room. We enjoyed our breakfast there, always fresh bakery, fruits, yoghurt, and nice coffee or selection of teas and jams. The location was perfect: near two metro stations and lots of restaurants, cafes and creperies nearby. Certainly a hotel to recommend and come back.
The staff was wonderful, accommodating, and responsive. The rooms themselves were comfortable and had a fresh smell. We had a shower and bathtub which was great, and the view was lovely. When traveling to high rent metropolitan areas such as Paris you can expect smaller accommodations. That said, for the value of the location, price, service and cleanliness, the size was just right. - Dawn from USA.
The staff were all wonderful, especially Lateeshia. She was a extremely helpful and fun to talk to! Breakfast was wonderful in the morning and the cleanliness of the hotel was fantastic! I definitely recommend that everyone stay here.
Very nice and quiet room. Breakfast ok but could have better selection of cheese. Excellent location - many restaurants, shops and metro+rer stations nearby.
We were very pleased with our room and cleanliness. Breakfast and the coffee was awesome. But the best part were the employees. They were friendly and more than helpful. This is our second stay and I recommend Le Royal Hotel. Oh, the ste is not too touristy and there are numerous restaurants to choose from. The Metro was so close! Love this hotel.
Un bijou with typical French charme, well located within short walking distance between two metro stations. Friendly staff, clean and recently renovated rooms. Great value for money.
Excellent small hotel in the middle of Paris with good metro connections everywhere. Though small, the room was very nice and quiet. Breakfast was very good as well.


MSN Careers – Is a Messier Desk Better?
I tried giving the book a chance (in audio book form) and got through the first few chapters. I think the author makes a reasonable point that neatness for neatness sake isn't of high value. But, the articles I've seen about the book tend to make the leap from questioning neatness to glorifying messiness. I don't think that's the message the book was trying to get across. I'm sure the author might think this example would be waste, so do I. If neatness and order means we mark where our keyboard goes, yes, that's probably a waste of time.
There's a big difference between one person and their personal space (a desk) vs. a shared workplace. Most of 5S is intended to help in shared workplaces right? When I do 5S work, I always emphasize that we aren't trying to be neat for the sake of being neat, we're trying to reduce waste and make abnormal situations more readily visible. A messy and disorganized shared workspace leads to waste, as people are looking for needed tools and supplies instead of doing value added work.
Instead of asking "Is a Messier Desk Better?", as the MSN article does, we should be asking "What's the Cost of a Messy Desk?" If there's zero cost (you're the only user of the space and you can keep track of where things are, no problem). If it's a shared bench in a factory, a laboratory, or a pharmacy, then the cost of messiness could be very high. That's where common sense has to intersect with Lean methods.
"Mess isn't necessarily the absence of order," Abrhamson and Freedman claim. "A messy desk can be a highly effective prioritizing and accessing system. In general, on a messy desk, the more important, urgent work tends to stay close by and near the top of the clutter, while the safely ignorable stuff tends to get buried to the bottom or near the back, which makes perfect sense.
In a way, that's a 5S principle — the most frequently used documents (or tools) should be at closest reach, that might be at the top of a stack.
Feelings toward workspace chaos can be strong. The book cites a Bradford, Penn. police chief who actually was fired for not having a neat desk.
What are your thoughts? Seen examples of "neatness for the sake of neatness" instead of using 5S to eliminate waste?
The biggest misguided abuse of 5S that I've seen are those who have tried to 5S individual engineers' desks. I can understand using 5S in model shops or prototype labs. There are born-organized engineers who seem to thrive on it. But there are others who will just resent the whole thing. I'm with you – if it's their own space, who cares?
Some of the most creative, productive engineers have so many spare parts, test equipment, etc. in their cubicles that you wonder how they can get anything done. . .because they need all those things to support the experimentation that leads to such great product designs.
After all, aren't we trying to encourage people to get direct, hands-on experience with the problems they're solving? It's hard to do that if the engineers feel like they can't get their hands (or their desks) dirty.
my company just started a neatness campaign. They just went through 2 whole floors and tossed out every paper tray and shelf. Then they limited every employee to 5 personal items, of which only 3 can be visible. This was done to people that do not share workspaces.
Anonymous, I hate it when I hear about campaigns like that. Does it really show "respect for people" to antagonize them with "remove personal items" mandates??
When we standardize anything, including a desk, we should ask "why?" Is there REALLY a good reason (safety or otherwise) to mandate the # of personal items on someone's desk? Again, that sounds like a power trip from a manager rather than anything productive.
A minute spent counting the items on someone's desk is a minute distracted from things that matter, I'd say.
At the risk of quibbling over semantics, Katherine's comments are absolutely valid, but not necessarily pertinent to the desk buried in paper. The engineer who keeps a pile of test equipment and spare parts lying around is simply keeping his necessary tools at hand (as Mark pointed out). And in fact, most office workers keep their tools lying around, too: staplers, post-it notes, pens, pencils, paper clips, etc. Nothing wrong with that.
It's the accumulation of obsolete, worthless (or low-value) items that violates 5S principles. Toyota line workers don't keep tools designed for a 1979 Celica lying around their work station. So why should office workers keep obsolete information (for example, last year's phone list or an old version of a budget) lying on their desks?
But even people who work independently need to be cognizant of the cost of mess. Would you trust your accountant if you saw your personal financial information in a giant heap, mixed in with other clients' paperwork, on his desk? At the very least, you'd wonder if you're paying for more hours than you need to. And at the worst, you might have serious questions about his ability to manage your taxes.
One of the most valuable benefits of 5S is the discipline it brings to the worker: he or she has to make decisions about what's important and what's not, and how to deal with it in a timely fashion. I've commented more extensively on this point here: http://www.timebackmanagement.com/blog/the_5s_mind.
Our plant has started a 5S program that is very counter productive. Tools and parts used for changeovers were moved off the shop floor. now insted of walking 3 feet they have to walk 700 ft. to get what they need. changeovers have increased by over 2 hrs. we look nice. They tell me we are going to start a quick changeover program soon. I can't wait to see it.
To anonymous…. I'm sorry to hear about the lousy "5S" implementation you've been put through. You know this better than any of us, that 5S isn't about "looking nice" at the expense of effectiveness.
Please keep us posted here, or email me using the link in the left column, if you have more stories to share.
See this link for a follow up post and hopefully more comments.
I too teach that to be clean for the sake of being clean can create Muda rather than eliminate it at times. Yet, MSN failed to note the potential perception gained or lost from a first impression by customer visits. In my experience potential and existing customers usually have some exposure to engineering offices and cubicles. Another aspect I have noticed is in a customer service group that has a high turnover rate or may be growing significantly. What is the cost savings of a cubicle (not shared) being left lean for someone else or having cubicles (not shared) standardized for the new team members. In addition, 5s/6s methodology, whether in shared or non-shared areas, has the ability to spark additional continuous improvement thought processes, can hopefully lead to a changed culture of continuous improvement. Lean is also a team thing that should become who we are instead of what we do.


Pudsey manufacturer Daletech Electronics is opening up opportunities for the next generation by engaging with local schools and students at UTC Leeds on work experience placements, careers fairs, mock interviews and employability panels.
"The aim is to give students hands on experience of modern manufacturing and help them understand what employers are looking for when they're recruit young people," said Daletech managing director Tracey Dawson.
The employability panel at Farnley Academy, organised through the Ahead Partnership, gave a group of 120 students from years 9 and 10 the opportunity to put questions about the world of work directly to a local employer.
Tracey also attended a lunchtime careers fair at Elliot Hudson College, together with Mike Rimmer, operations director at Brandon Medical.
Daletech specialises in subcontract design and manufacture of electronics components, including primary circuit boards, and enjoys an industry-wide reputation for excellence.
The company recently recruited its first apprentice from UTC Leeds, the new school for 14-19 year olds which focuses on equipping young people for careers in engineering and manufacturing.
After a week-long placement earlier this year, 16-year-old Josh Abbott joined the company after completing his GCSEs in June. He's the fifth school student this year to spend time with the production team as part of a work experience placement.
"It's important to give young people the opportunity to do the job and be involved with the work of the wider team rather than have them making cups of tea.
Opportunity has also been extended to a marketing undergraduate from the University of Bradford who is working with Tracey on a six week placement to develop a marketing plan for the business.
"It's about opening up opportunities to young people but it's also about being aware of the opportunities they bring and the contribution they can make," says Tracey.


text:
Iván Menczel, född 14 december 1941 i Karancsalja, död 26 november 2011 i Salgótarján, var en ungersk fotbollsspelare.

Menczel blev olympisk guldmedaljör i fotboll vid sommarspelen 1968 i Mexico City.

Källor

Ungerska fotbollsspelare
Ungerska olympiska guldmedaljörer
Olympiska guldmedaljörer 1968
Tävlande i fotboll vid olympiska sommarspelen 1968
Tävlande vid olympiska sommarspelen 1968 från Ungern
Födda 1941
Avlidna 2011
Män


text:
PRINT May 1965
Filthy Pictures: Some Chapters in the History of Taste
IT IS SURPRISING THAT Sir Kenneth Clark, in his "The Nude, A Study in Ideal Form," confines his discussion of the most obvious category to which the nude belongs, the erotic, to a few remarks in the opening chapter, in which he differentiates the naked from the nude. Pausing only to dispute the Victorian notion that the nude as a subject should not arouse erotic desire in the viewer, he contends instead that "no nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even though it be only the faintest shadow––and if it does not do so, it is bad art and false morals."
The following discussion of nudes that not only fail to arouse erotic feeling but perversely call forth a reaction of distaste is clearly no occasion for revising Sir Kenneth's enlightened appraisal. For, though the taste for (and production of) perverse erotic art seems to be growing and so is worth investigating, this art is interesting mainly in the way it reflects contemporary attitudes toward the body as they are expressed in art, rather than as art of any great quality.
Because the recent flurry of excitement about the Austrian Expressionists, Gustav Klimt and his disciple Egon Schiele, strikes me as linked in a curious way with the taste for the new erotic art, I want to begin by defining how their works are examples of a perverse eroticism. By perverse, I ought to point out here, I mean that which is used 21 in a way other than the manner in which it was intended to be used and, in the context of this article, I mean specifically the nude which evokes not sexual desire but anti-sexual responses of repugnance or distaste. I will mean also, as I intend to illustrate later, flesh rendered as a material other than flesh, and the treatment of the body as an inanimate, inorganic object among objects.
To return to Klimt and Schiele: my first reaction to their joint retrospective held recently at the Guggenheim Museum was to dismiss most of the work, especially the figure studies, as poor art, a superficial echo of the moving Expressionism of Munch and the first generation of Germans. But, succumbing to their curious fascination, I began to wonder why Schiele's flayed, distorted figures and Klimt's tortured, crammed surfaces should prove so provocative, and why, after several decades of relative obscurity the Austrians should suddenly be enjoying a vogue. The works, certainly, make no great formal or expressive point. On the contrary, they suffer from the same "horror vacui" as Art Nouveau ornament, to which their tangled, febrile arabesques are related. In Klimt, the multiplicity of small, irregular forms remains a patchwork of fragments, which never coheres into any decisive unity, whereas in Schiele's more linear style, the sameness of line and its crabbed, involuted character are as much a sign of a limited content as they are of a limited and unvariegated sense of form. But these pictures raise interesting questions, both about expression and about the decorative in art, questions which seem, at a time when an Expressionistic style has been rejected for an essentially decorative one, particularly relevant. Why, for example, does Klimt appear superficial when compared to Munch or Klee, and Schiele unambitious when set beside Beckmann?
As Expressionists, Klimt and Schiele fail to engage the emotions because they perversely use the explosive rhetoric and thematic material of expression toward the end of an ornamental style. Distortions of the human figure are what mark them as Expressionists, rather than the ability of their canvases to evoke an emotional reaction. Not the heartstrings but the fingertips react. The perfumed garden, the exquisite "frisson" that raises gooseflesh, the exacerbated estheticism we associate with the fin-de-siecle sensibility of decadent literature and Art Nouveau is still essentially the content of the Viennese works.
Our new found use for these works seems to me part of that taste recently defined as "camp" for art that is coy, over-developed, elegant and refined to the point of parodying elegance and refinement, which is literally, as well as figuratively, superficial. This taste for the "recherché" has led us to appreciate the delights of late Mannerism, the pre-Raphaelites, the Art Nouveau decorators, and, now, the Viennese Expressionists. Perverse taste, or "camp" taste, undeniably one of the dominant modes of contemporary sensibility, finds something especially delectable in these styles, which have in common that they are largely concerned with the erotic in its more remote forms of expression. And, not surprisingly, perverse eroticism has come to be the content of a certain part of our own art. What is remarkable about this art is not that it is being made––there has always been underground erotic art, even in the most repressed societies––but that, as part of the general sexual revolution which permits the distribution of banned books, the screening of banned movies, and the use of banned words, it is now being exhibited.
A good deal of this perverse eroticism has found its way into a new style in figure painting, related to Pop Art, which appears to be emerging. This new figurative style is quite unlike the figure painting of the past decade, which was more often than not only a variant of Abstract Expressionism. Though some valuable artists continue to be committed to this late Expressionist style, and even though de Kooning's most recent pictures have been figurative, the "return to the figure" trumpeted a few years back has hardly been a mass migration. On the other hand, the success of Pop Art appears to have stimulated a revival of interest in the figure to the extent that one sees more figure painting in the galleries than one has in quite a while. Mostly these figures are nudes, and their erotic content is quite explicit. Given the social context of more liberal attitudes in general toward sexual activity and its treatment in art, such a development might have been expected. Nor is it surprising that not only non-Western erotica but contemporary Western erotica is beginning to be seen in both museums and galleries. Yet, despite all this, it still comes as something of a shock to get announcements of group shows which consist of photographs of the participants in the raw, smilingly joined in the happy camaraderie of the pages of "Teen-age Nudist." The popularity of nude activity being what it is (what with nude dances, nude movies, nude announcements, etc.), one begins to have the idea that if you haven't seen your friends without their clothes they aren't really your friends.
Now I would like very much to agree that this is, as the jukebox would have it, the Garden of Eden, the Paradise Regained looked forward to by Norman O. Brown in "Life Against Death," wherein the spirit and the flesh are reunited in a post-Freudian Golden Age. But something about the new erotic art, which, for all its frankness, strikes one as, at bottom, essentially perverse, either because of the odd ways bodies are coupled or the unpleasant quality flesh takes on, makes one suspect that we have exchanged original sin for only another set of difficulties, if only because ours is not a Mediterranean culture, and the ghost of John Calvin dies hard.
To test the content of the new figure painting, one might begin by comparing Wynn Chamberlain's picnicking couples with the original from which it was derived, Manet's "Luncheon on the Grass." Chamberlain's "Homage to Manet" differs from its prototype in that the male figures, as well as the female, are nude, and in that the figures are taken out of a landscape and put in an anonymous setting. Manet's relative lack of modeling, which made the picture so shocking when it was first exhibited, is replaced by a degree of plasticity that gives to the figures an eerie, mannikin-like quality. In contrast with Manet, one might call Chamberlain's nudes realistic, except that there is something peculiarly artificial about the harsh light that casts patterned shadows, and something unpleasantly unnatural in the quality of the flesh, which, as a texture, is not differentiated in any way from the inanimate objects like the picnic bag and thermos that lie strewn about on the ground.
Flesh is treated similarly by other painters such as Philip Pearlstein, Jack Beal, and Mel Ramos. This unwillingness to differentiate the texture of flesh from other textures makes a disquieting equation between the organic and the inorganic. Their work resembles Chamberlain's, too, in that the figures stare out at the spectator with a bland, expressionless impersonality, which is quite the contrary of the intense rapport Manet's figures establish with the viewer.
Philip Pearlstein's "Two Nudes on Tan Drape" differs from Courbet's "The Sleepers," another painting of two women asleep which it immediately brings to mind, in much the same way as the Chamberlain differs from the Manet. In the Courbet, again, the details, the crystal and satin setting of the bedroom, are clearly described, whereas Pearlstein's figures like Chamberlain's are transferred to an anonymous, nondescript setting. Like Chamberlain, Pearlstein, too, seems to work, if not from photographs, then under the inspiration of them. (Chamberlain literally does work from photographs of his friends posing as we see them in the paintings.) And Pearlstein's figures, too, have that strange super-plasticity, which he exaggerates to even more grotesque proportions by playing with tour-de-force effects such as rapid foreshortening and oblique vantage points. Other analogies with Chamberlain's work exist: Pearlstein's figures also seem made, not of flesh, but, in his case, of some bony, calcified material, and their expressions are equally blank, though Pearlstein, less cheerful than Chamberlain, sees his figures as frozen in attitudes of trance-like isolation, aggressively powerful in their grotesque plasticity, but ultimately helpless in their torpor.
Jack Beal's "The Roof" also recalls Manet's "Dejeuner" in that it contains recognizable faces who stare out at the viewer. Beal shares with Chamberlain and Pearlstein the wish to give to flesh the same anonymous, uniform treatment he gives other textures, assigning to the body the status of an object among other equally undifferentiated objects.
Not directly related to precedents in older art, but suggesting an amusing analogy with Goya's clothed and nude Majas are Alex Katz' life-sized painted wood cut-out "Maxine," which is seen clothed from the front and nude from behind, and Wynn Chamberlain's "The Poets" which, like Goya's Maja, also exists in two versions, dressed and undressed. But the genuinely erotic content of Goya's Maja stands in sharp contrast with these oddly neutral, unsensuous treatments of the body. Perhaps the point being made is that dressed or naked the body has the same allure or lack of it-clearly not Goya's point. Beyond this, a fetishistic obsession with genitalia seems to go beyond the merely frank, both in Tom Wesselmann's "Great American Nude" and in some of Schiele's drawings. Wesselmann again reduces the human figure to an object-like status by failing to differentiate between the appliqued texture of the leopardskin couch and the appliqued pubic hair of the nude reclining on it. Like Manet's "Olympia," the "Great American Nude" wears a velvet band around her neck; otherwise she has no features save mouth, nipples, and pubic hair; as a result, as opposed to Matisse's luxuriating odalisques which she resembles in her flatness, she becomes the rather repulsive symbol of a commercialized sexuality. That this is the idea is emphasized by the presence of a half-clad girl in a girdle who runs through a field seen through a window in the background.
As a sexual object, "The Great American Nude" is perverse because she is unappealing. Belonging equally to the manufactured sex of the pin-up and the calendar girl is Mel Ramos' "Peek-a-boo Blonde," who as a sex symbol is as coy and absurd as lngres' simpering "La Source." Like the others, Ramos also uses rich paint texture; the pigment is buttered on as it is in Thiebaud's pastries. Again, the setting is anonymous, this time the girl is behind a keyhole, an insinuation that the spectator is more voyeur than viewer. The creaminess of the pigment does not in any way enhance the appeal of this blonde cutie who stands as a caricature of Movieland sexuality, but rather adds to our impression that the flesh is somehow disagreeable.
Another kind of perverse eroticism is that which depicts the nude figure as not entirely nude, but as semi-clothed. Schiele was fond of such themes, and perhaps nothing is so strikingly perverse in his work as the immodest ladies who stand about clad only in their stockings. Lucas Cranach's jeweled and elegantly hatted Venus with her transparent veils was an early example of the kind of archness we find echoed in Ben Johnson's nudes dressed only in their pearls and oversized flowered hats. Like Wesselmann's "Great American Nude," Johnson's "Flemish Lady" was inspired by Matisse; and like Wesselmann's diagrammatic female, she seems all secondary sex characteristics. Along these same lines, Marjorie Strider's girl in a bikini, with its 3-dimensional breasts, is even more egregiously mammalian, and even less art.
Treating the body as an object has allowed other artists such as Harold Stevenson and Paul Waldman to isolate fragments of the nude and enlarge them to bizarre proportions. (In Stevenson's case, enormous blow-ups of mouths and fingers as well as the ubiquitous genitals increase the possibilities.) The result is unpleasant in the extreme, and the parts of the body are not made any more attractive in the way they are rendered. Flesh is made to look sticky, gooey or gummy––a little like underdone meat tarred at the edges. By taking a slice of the body and enlarging it to monstrous proportions, one again manages to reduce the human body to the level of an inanimate object. In one sense this is what Paul Harris is doing too, in a work like "Nude on a Red Couch," in which he makes the nude simply continuous with and a part of the furniture, as Frank Gallo has made a female nude part of the chair in which she sits, in no way distinct or separate from the world of manufactured objects.
By considering these new ways artists are treating the nude, I have been trying to make the point that erotic art is not necessarily sensual; it can deny as easily as affirm the body. And although the denial or distortion of the body in former times may be construed as the elevation of spirit over matter, when it appears in a context that should normally be considered erotic, it becomes merely perverse. Thus, the schematization of the body and the denial of its corporeality in medieval art or its etherealization and dematerialization into ghostly flickers in El Greco constitutes a negation of the body in favor of the spirit. But, by contrast, its schematization into a two-dimensional surface pattern in Art Nouveau or its distortion and attenuation into something gnarled and deformed, but equally incorporeal, as in Klimt or Schiele, strikes one as a perverse abuse of the flesh on the purely material level. To see Schiele's nudes as sensual, as Michael Levey has in a recent essay, seems to me absurd. Though the context is erotic, flesh is treated so as to deny its warmth, texture, and corporeality. This is perverse. Thoughts turn not to the bedroom but to the mortuary. And this fascination with the morbid––quite overt in Klimt's imagery––which critics have found common both to later Mannerist art and fin-de-siecle romanticism, is the antithesis of the true erotic style of Rubens or Renoir, or to the force of Eros as Freud describes it.
So far I have been finding connections between the coy-sentimental nudes of Ingres––who is a pioneer in the line of development that passes through 19th-century Salon virgin-sinners and ends in the White Rock Girl––and the perverse eroticism of Art Nouveau and Viennese Expressionism on the one hand and some nudes being done today on the other. But though many parallels may be found, the perverse eroticism in contemporary art is of a radically different order; for, rather than projecting fantasies for a sexually deprived Victorian society, it is mirroring the collective fantasies of a sexually obsessed American society. Though the fantasy element in current imagistic art is undeniable, the fantasy mirrored is the realized and externalized one which reflects an environment so sexualized and erotically charged that sexuality seems to invest the commonest objects from automobiles to vacuum cleaners. The world of Pop Art and the new "cold" erotic art is the double of the world where giant mouths and breasts stare down from billboards and movie screens, where housewives rush to buy Mr. Clean because "he's mean" and secretaries in topless bathing suits suffer more from exhibitionism than from hysterical repression. The fantasies thrown up by repressed sexuality are no longer the issue: rather the acceptance of a collective erotic fantasy as reality in the absence of any apparatus with which to interpret it is the point. If what one means by reality is the external world, the objects and environment around us, then the new erotic art, unpleasant as it may be, is a clear reflection of it. That it is unpleasant and that it tends to be perverse says as much about the nature of our reality as Rubens' fleshy goddesses and Raphael's ample, soft Madonnas tell us about attitudes toward sexuality in less confusing times. Confusions about the nature of eroticism, sexuality, perversion, pornography and obscenity may be an inevitable stage in the evolution of a more natural attitude toward the body. That the art being produced in the wake of this confusion is taking on peculiar forms is hardly surprising.


Can writers help battle obesity?
Can our nation's leading creative writers help ease the burden of obesity in Australia?
Professor Stephen Simpson, Academic Director of the Charles Perkins Centre (CPC), and Executive Director of Obesity Australia, is confident they can.
This confidence is reaping rewards through a unique residency set up in 2016 and a productive commissioning process that puts writers in contact with the centre's scientists and other researchers to spark innovative thinking.
"You need all these disciplines to come together if you are going to start to get to the heart of solving such a fundamental societal problem as obesity," Simpson says.
Multi award-winning novelist Charlotte Wood was the centre's inaugural Writer-in-Residence in 2016. She used her year at the centre – which comes with a $100,000 fellowship – to develop a new novel that responds to the way ageing people are depicted in mainstream culture.
Last year CPC also commissioned acclaimed playwright Alana Valentine to write Made to Measure – a stage play that dramatises the relationship that people have with their wedding day appearance.
She interviewed a range of Sydney-based couturiers and brides-to-be, and the insights gained through her work are helping CPC researchers to interpret some core issues in relation to body image and obesity.
Valentine says there are high stakes for an individual to look their ideal version of themselves on their wedding day.
This fuelled her desire to explore how a diversity of cultures and people "stay focused and resolute" about their appearance and health in the lead up to a wedding but are not able to continue to do so later.
"All the dress- and suit-makers that I've interviewed told me very funny very moving stories about disastrous dieting, impossible clients, spectacular failures and … scandalous liaisons.
"These wedding day apparel makers have yielded material for a play that I think is an entertaining route into a diversity of insights into the Australian psyche as it relates to body shape, nutritional discipline and cultural expectations.
Valentine joins author Mireille Juchau as one of two writers-in-residence at the centre, which is part of the University of Sydney, in 2017.
She will use her time to interview scientists about how they feel when their critical warnings about metabolic syndrome and other chronic diseases go unheeded. She will also write a play based on those impressions.
Simpson, Wood and Valentine appeared on a panel as part of the Curious Science series presented by the City of Sydney Library and Inspiring Australia at Customs House in Circular Quay on June 22.
Valentine read two evocative scenes from Made to Measure. Her rapt audience groaned in sympathy when she described a "fat girl" in a wedding dress shop where her bulk amid the size 6 frocks causes people's eyeballs to "spurt blood all over the French lace and antique tulle".
Obesity is the biggest health risk in Australia. One in four children and more than 63 per cent of adults are overweight, compared with just over half in 1995.
This is a "failed model" that leads to guilt and stigmatisation.
Simpson believes the fresh perspectives that writers like Wood, Valentine and Juchau bring to some of Australia's biggest health challenges should help the centre find new and more effective ways to tackle them.
"Understanding obesity—mind and body", the next talk in the Curious Science series, is at Ultimo Library on July 12.
The Charles Perkins Centre, which is part of Sydney University, is committed to easing the burden of obesity, diabetes and cardiovascular disease, and their related conditions, which are the leading causes of death, disability and reduced quality of life in Australia. Charles Perkins was the first Aboriginal man to graduate from an Australian university.


Physiological, molecular, and field studies of fungal pathogens of blueberries; research on molds affecting food.
My research focuses on fungi that are pathogens of plants. Research projects in my laboratory examine the genetic diversity, physiology and molecular biology of various fungal pathogens and applied aspects of control of fungi that attack lowbush blueberry. A major focus of my research is mummy berry disease caused by Monilinia vaccinii-corymbosi and a disease identified in Maine for the first time in 2009, Valdensinia leaf spot, caused by Valdensinia heterodoxa. Current research interests include evaluating the genetic diversity of M. vaccinii-corymbosi in lowbush blueberry, determining the genetic relatedness of lowbush blueberry clones that differ in their levels of mummy berry disease severity, examining the mode of infection of M. vaccinii-corymbosi and V. heterodoxa, and determining the major methods of spread of Valdensinia leaf spot. Laboratory personnel are also involved in evaluating lower risk and organic materials and management techniques to control disease and providing information on the use of forecasting methods to improve effectiveness of disease control.
McGovern, K., S. Annis and D. Yarborough, 2012.Efficacy of organically acceptable materials for control of mummy berry disease on wild blueberries in Maine. International Journal of Fruit Science. 12:188-204.
Drummond, F.A., J. Smagula, D. Yarborough, and S. Annis, 2012, Organic wild blueberry research and extension in Maine, International Journal of Fruit Science. 12:216-231.
Penman, L. N. and Annis, S. L. 2005. Variation of mummy berry blight in clones of lowbush blueberry: effects on yield and relationship to bud phenology. Phytopathology 95:1174-1182.
Annis, S.L. and C.S. Stubbs. 2004. Stem and leaf diseases and their effects on yield in Maine lowbush blueberry fields. Small Fruits Review 3(1/2):159-167.
Piotrowski, J.S., S.L. Annis, and J.E. Longcore. 2004. Physiology of Batrachochytrium dendrobatidis, a chytrid pathogen of amphibians. Mycologia 96:9-15.
Annis, S.L., Dastoor, F., Ziel, H., Daszak, P., Longcore, J.E. 2004. A DNA-based assay to identify Batrachochytrium dendrobatidis in amphibians. Journal of Wildlife Diseases 40(3): 420-428.
H. Xu, S. Annis, J. Linz, and F. Trail. 2000. Infection and colonization of peanut pods by Aspergillus parasiticus and the expression of aflatoxin biosynthetic genes in infection hyphae. Physiological and Molecular Plant Pathology 56:185-196.
S. Annis, L. Velasquez, H. Xu, R. Hammerschmidt, J. Linz, and F. Trail. 2000. Novel procedure for identification of compounds inhibitory to transcription of genes involved in mycotoxin biosynthesis. Journal of Agricultural and Food Chemistry 48:4656-4660.


On the schedule for the bus to Wakura Onsen. YOU'RE LOSING YOUR BUDDIES.
Wakutama-kun will show you how to bathe at an onsen!
The Noto Line (能登鉄道) from Anamizu (穴水) to Nanao (七尾) and sometimes even as far as Komatsu (小松) has a few trains decorated with mascots and characters. One is decorated with characters from Hana Saku Iroha (花咲くいろは); one is the alien mascot from Hakui, famous for UFOs; and another is Wakutama-kun. That was my favorite, and I always was excited when I got that particular train.
So cute! I'm sad Wakutama-kun hasn't won the Mascot Grand Prix yet, but maybe someday his cuteness will be appreciated. What's your favorite local mascot?


As part of thinking about how whether non-gendered terms would work for mainstream contra dances, I thought it would be good to ask callers what they thought. Is it something where most callers were only willing to call Gents/Ladies, or are they more flexible? Do they generally support this sort of change, or do they think it's a bad idea?
A dance like BIDA switching to gender free terms is better, worse, or about the same.
They have a preference between Larks/Ravens and Jets/Rubies.
They would be willing to call Larks/Ravens or Jets/Rubies if a dance required that.
Of the 18 callers I wrote to, 17 responded. Of them, all but one was willing to call Larks/Ravens or Jets/Rubies, though several said (without my having suggested it) that they wouldn't be willing to call Lead/Follow.
Many of the respondents didn't say whether they were in favor of the switch. Of the 11 who did respond, it was 5x yes, 3x ambivalent, and 3x no.
Nine callers preferred Jets/Rubies because they find it easier to say, but no one so much that they were willing to call Jets/Rubies but not Larks/Ravens.
"I prefer Jets/Rubies, but only slightly. I can see the benefit of 'L'/'R' matching the default swing ending position with the initial letters but I think I'd make fewer mistakes with Jets/Rubies. Not enough to sway a decision though.
"My personal preference is for Jets/Rubies, but that's just because it's easier for me to say right now. I'm sure that if I practiced Larks/Ravens would be fine too. If the point of using gender free terms is to distance the roles even further from gender, than I'd go with Larks/Ravens. Jets/Rubies sounds very similar to Gents/Ladies, and some callers slip up and say 'Gents' for 'Jets'."
"The birds are arbitrary terms and seem to have fewer unwanted(?) associations than the rock terms. So I'm for the birds."
"I'm not wildly positive about either Larks/Ravens or Jets/Rubies, but if I had to choose one set, it would be Larks/Ravens. To me, Jets/Rubies carries a lot of baggage: It sounds enough like Gents/Ladies that it invites the reaction 'Who are they trying to kid?' The lack of logical association between jewels (inanimate objects) and dancing (an intimate human activity) makes the use of Jets/Rubies feel as if the series is being run by an in-group with a secret language. (I realize the two foregoing reactions are contradictory, but these are gut reactions, not necessarily rational ones.) Also, 'Jets' makes me think of the gang in West Side Story, and also of airplanes (more inanimate objects). To sum up, the word in a dance context has no positive associations for me, and some negative ones. Larks/Ravens has no baggage for me, doesn't reinforce gender stereotypes, and has a built-in mnemonic with the L/R initials."
"Enough people are offended by 'Jets' sounding too close to 'Gents' that I think Larks/Ravens is a much easier sell."
"My preference would be Jets/Rubies, because the sound similarity to traditional terms make the transition easier. (I understand that that very feature makes it the less desirable choice in some people's view.)"
"As a caller who learned with Gents/Ladies, I find Jets/Rubies the easiest to use."
"I've never used Larks/Ravens. I've used Jets/Rubies, and felt fairly comfortable with it. Larks/Ravens makes more sense to me. Definitely happy to use either one."
"I have a preference for Jets/Rubies but the only terms I will not use are Leads/Follows."
"I don't have a preference between those two sets of terms. I am also comfortable with Lead/Follow, but know that this is also a challenging choice for some people and I understand why it's maybe not the best pick. I like it because those terms have dance connotations"
"I like Jets/Rubies because regular contra dancers from other places can come in and dance without needing anything to be explained to them since the terms are pretty similar to Gents/Ladies. Also, Larks/Ravens sounds a little silly."
"As far as Jets/Rubies vs Larks/Ravens, I like using Jets/Rubies because they sound almost the same as Gents/Ladies. For my rhymes and patter, it's a pretty easy substitution. But my first impression of the terms is that they are still kind of gendered, or at least can be interpreted that. 'Jets' sounds aggressive and masculine, and 'Rubies' are definitely feminine. "
"I can't imagine trying to turn a singing square gender free."
"From the point of view of a caller trying to get a new set of words out of my mouth when significant chunks of my teaching and prompting are automatic, I think that I would prefer Jets/Rubies for a few reasons. First, I think that I would manage to confuse myself and stumble around switching 'Gents' to 'Larks', which starts with the same letter as 'Ladies', and might be more likely to flip-flop the two. Also, I know that it has been successfully used, but the initial consonants of Larks/Ravens aren't nearly as contrasted as are those of Jets/Rubies (or of Gents/Ladies)."
"Not really a preference, although as a caller perhaps Jets/Rubies is a slightly easier transition."


Italian yard Grand Soleil Yachts has released new images showing its in-build 25.95 metre flagship approaching its launch.
It comes after the yacht, which is currently known by the codename GS80 Custom, was due to launch last summer and go on display at the 2018 Cannes Yachting Festival.
The carbon-hulled sailing yacht features naval architecture by Ceccarelli Yacht Design.
Founder Giovanni Ceccarelli previously said, "We have designed a performance cruiser with a strong personality in the hull and deck style - elegant, contemporary and sporty."
Construction began in 2016 at the Cantiere Del Pardo shipyard in Fano. Carbon fibre has been used to ensure a light weight and sporty performance, with a displacement of under 33 tonnes.
Vital statistics include a 6.49 metre beam and a maximum draught of 4.45 metres, while auxiliary power will come from a single 260hp engine.
The deck layout of this cruiser/racer consists of a twin helm position just aft of the cockpit, which will be fitted with two C-shaped seating areas suitable for hosting up to ten guests. Moving inside and the lower saloon is an ideal space for meals, situated adjacent to the GS80's galley.
Accommodation is for up to eight guests split between four en-suite staterooms, including a master suite in the bow, two doubles and a bunk bed cabin. The compact crew quarters back aft allow for a staff of two people.
The GS80 Custom will boast a sail wardrobe totalling 365 square metres, optimised for medium-light Mediterranean wind conditions, and a T-shaped keel with a 12-tonne bulb. The owner plans to put this to good use, following the superyacht racing circuit and enjoying family holidays in between.
This project marks a huge step forward for the Italian yard, whose previous flagship was the 17.6 metre GS58 — developed in collaboration with Nauta Design.


Content development, 3D design and graphic interpretation design of an editable and updatable display system for Redhouse, a new arts centre born out of Merthyr Tydfil's former town hall. An installation that tells the story of Merthyr Tydfil incorporating video and audio. The display system consists of 8 hanging 'staves' fabricated in hot-rolled steel onto which slide movable steel panels. Each panel is wrapped in printed adhesive-backed vinyl enabling inexpensive and easy re-skinning of content. Working closely with local history societies, libraries and organisations, we researched and wrote over 100 stories in Welsh and English. Personal and community histories since 1830 to the present day have been shared. A collaboration with Coombe Architecture and Kate Hulme.


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Police searched car and found gun, carving knife and claw hammer, court told
The 36-year-old refused to stand as the allegations were put to him in court
Alan Erwin
(Image: stock)
A man allegedly had a deactivated gun, carving knife and claw hammer in his car, a court heard today.
Hugh Anthony Butler was arrested last week as part of what his lawyer described as an intelligence operation.
The 36-year-old, from the Antrim Road in Newtownabbey, is charged with possessing an imitation firearm with intent to cause fear of violence.
He also faces counts of possessing a bladed article and an offensive weapon in a public place. Appearing in the dock at Belfast Magistrates' Court, Butler declined to stand as the allegations were put to him.
An investigating detective said the items were found in a car registered to the accused which was parked outside a house on the Carnmoney Road, Newtownabbey on Tuesday.
The deactivated pistol was on the front passenger seat, while the knife and hammer were in the vehicle's footwell area. Butler was arrested after he exited the house in an aggressive and agitated state, police said.
New Lodge man spared jail for hammer attack on man who robbed his mother
Searches of a garage at the property recovered two other suspected guns, at least one of which was also deactivated. Butler is not charged with having either of those guns. Opposing bail, the detective claimed his release could lead to a significant risk of re-offending.
Newtownabbey dad speaks out as 3-year-old daughter suddenly loses ability to walk, talk and use hands
She would not comment on defence counsel Declan Quinn's suggestion that the police operation was based on intelligence.
Mr Quinn also contended the pistol was found in full view, in an unlocked and unoccupied car. The barrister stressed nothing was found when Butler's own home was searched.
Man stopped with a 9-inch knife had it 'to carve a roast chicken'
Setting out his client's mental health issues, Mr Quinn said: "One is not dealing with some criminal or paramilitary mastermind, we are dealing with someone who is a particularly vulnerable individual."
Refusing bail, however, District Judge Fiona Bagnall held that any potential further offences could put the public at risk. She remanded Butler in custody to appear again by video-link in four weeks time.
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Leanne Morgan
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Thu Jan 23 2020 @ 07:00 pm
Comedy Off Broadway, 161 Lexington Green Circle, #C4, Lexington KY 40503
Leanne Morgan: Leanne's style of comedy combines her southern charm and hilarious story telling about her own life into an act that keeps them coming back for more. As a stay-at-home, mother of three with a husband, people are always accusing her of spying on them because she seems to be living the same life that they do. The fact that everyone can relate to her comedy has made her a hit even among the strangest of audiences. While performing in San Antonio she was asked to appear at the Las Vegas Comedy Festival and shortly thereafter appeared on ABC's The View in a hilarious housewife segment. Leanne appeared as a finalist on Nick at Nite's Funniest Mom and toured three years with the Southern Fried Chicks. She has appeared in comedy clubs, performing arts centers, and theatres all over the United States. She had a contract with Warner Brothers and ABC to develop a sitcom based on her comedy and also collaborated with legendary writer/producer Matt Williams ("Roseanne," "Home Improvement") on a half-hour comedy project. She counts as her celebrity fans, Dr. Phil and Paula Deen. She has appeared on both their shows. Leanne and fellow comic Reno Collier recently co-hosted Chewing the Fat, a weekly radio show on Sirius XM/Blue Collar Radio and her comedy is in rotation every day on Sirius comedy channels. She is currently touring as part of the comedy trio Country Cool, along with headliners Karen Mills and Trish Suhr. She has a comedy special currently streaming on VidAngel called "So Yummy" and her videos on Dry Bar Comedy have gotten more than 40 million views and growing! She has a podcast called Sweaty and Pissed...Menopause and More.
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Support Modi's Swachh Bharat Abhiyan - India's First Green Village!
khonoma-india-s-first-green-village
Situated on a cliff, overlooking the undulating movements of the rice fields, Khonoma is a small village in the interiors of Nagaland that is home to the indigenous Angami Naga warriors. A rickety-rockety ride though the sinuous 20 km road from Kohima leads you to Khonoma - India's First Green Village. The drive is sub-alpine and exposes a diabolic view of the breathtaking abyss down under. A quaint little village whose soul was marred by war several times in history, today Khonoma has emerged like a phoenix fighting scores of bellicose battles since 1850.
Khonoma's journey to becoming the very First Indian Green Village began long before Modiji's Swachh Bharat Abhiyan. In 1998, the 20 sq. km. area was declared as Khonoma Nature Conservation And Tragopan Sanctuary (KNCTS). Now, hunting is banned not only in this area, but also the entire expanse of village sprawling over 125 sq. kms. Khonoma has also adopted a Slash-And-Burn Farming or Jhum Cultivation method, where the forestlands are cleared for the purpose of agriculture.
Regarded as India's First Green Village, it has adopted an environmentally conducive living by banning the age-old Naga tradition of hunting - a move worth emulating throughout Nagaland as hunting is second-nature to the Angamis.
Another amazing part of this village is that the Khonoma Students' Union is super-active in environment preservation and strives hard to maintain its image of India's First Green Village. It is the kids from class 1 and above, that actually maintain its reputation.
It is really inspiring to see such a change because the native inhabitants of Nagaland devour anything that moves - from eels, larvae to elephants, birds, absolutely everything. In fact, the first thing that crosses a Naga-mind when they see an animal or bird, is how it will taste.
8 Bizzare Facts About India's First Green Village That You Will Only Experience On Your Northeast Holiday
1. A small stroll in the village, and you will spot an empty tombstone, as if the ghost has resurrected itself and walked out of its grave. This thought can actually give you nightmares.
A gravestone lays sunken in stone walls, alone and desolate. Besides it, you will see an outline of stones, a bespoke mark that these stones were displaced.
But what is it exactly?
According to the Angami tradition, when a married elder in the family dies, its grave is set in walls of the stone.
The space besides it is reserved for the spouse's grave. The idea behind it is that the couple stays together even after death - forever and ever after, even death can't do them apart.
This is how the couples rest in peace, besides each other in their grave. This is the mother of all 'love is immortal' anecdotes. A terrific example set by a small village, love is definitely not a pre-historic term. It is sweet and spooky at the same time, isn't it?
Does watching your own grave while you are alive scare the hell out if you?
2. Some of the houses still exhibit trophies from their past headhunting kills - skulls of bison, deer, monkeys, elephant tusks et al, still adorn their house entrances.
A stroll through the village will lead to umpteen revelations. As eerie as it may get, but they were once considered a symbol of power.
3. Bang opposite a Baptist Church, a flight of rock-hewn steps take you into the interiors of Khonoma. A traditional stone door, called 'kharu' welcomes you to this village; oblivion to the fact that it is a gateway to a horde of epiphanies of the Naga tradition.
From the chivalrous stories of the Naga warriors to the fabled tales of the headhunters who single-handedly savaged many a beasts, this place holds a lot of secrets.
4. Dotted by small houses on either side of the cliff, a 190-year old fort straddles at the edge of the cliff - an eyrie that sits silently like a damsel that was once in distress.
The walls of the fort are hard to miss - they are built of stones and impregnate a marble plaque that read the following.
"The fiercest of battles were fought between the British and the Nagas from 1850-79 in this Semoma Fort of Khonoma.
This fort was described as 'one of the strongest in the Northeast' by Maj. John Butler of the British Army."
There's nothing left of the fort; a stone plaque gives a brief history of the fort. The literature on the stone stands testimony to the century-old transformation that Khonoma went through.
5. You don't have to visit Bali or Vietnam to see the terraced rice fields.
From Khonoma Fort's vantage point, you will be enthralled to see the viridescent landscape filled with layers of paddy. Long strands of paddy waltz to the gentle zephyr; terraced rice fields form a verdant staircase and birds chirp their way into the lapis lazuli of the horizon.
6. Throughout the village, you will pass through gravestones with epitaphs written on them.
A queasy feeling of uneasiness slips into your body just as you realise that, although the fire has extinguished, it has left a few embers floating in the air and its pain and agony can never be washed away.
7. A further deeper into the village, you will see a traditional 'morung', a place where young Naga boys learn about their traditions. Outside the morung, there are hung guns, the look of it is enough to scare the living daylights out of you.
Weapons and daily use equipments made out of animal pelts, wood and hay hung on the wall form a montage of their legacy, a legacy that is not completely gone, but lays silenced by modernisation.
8. A sinister looking owl garbed in a salt-pepper look is said to have been erected by the spirits. Called as 'Terhouotsiese', meaning 'stone erected by the spirits', it is home to an outrageously spine-chilling legend.
"One pitch-dark night, the people of Khonoma village heard thunderous shouts of rallying cry "oho, oho", dotted with victory yell "alulu" as if a big ceremony was going on in the deep forest.
Early next morning, when they came to see, they saw this weird looking stone being planted here by the spirits. Traces indicated that the stone was hog-tied by a long string of thatch and was being dragged down to this place from the deep forest above."
Air: The nearest airport is the Dimapur Airport. The connectivity of flights may be low and it could also be costly, yet this is a time-saving option. If you have time on your hands, then a wiser option is buy a flight ticket to Guwahati in Assam and take an overnight bus to Kohima, from where it is another 20 kms.
Rail: The nearest railhead serving the area is Dimapur Railway Station. Though your train may not be directly going through Dimapur, you may alight at Guwahati (which is well connected to rest of India) and board a connecting train to Dimapur.
Road: Kohima is the hub-destination for Khonoma. Once you reach Kohima (by road or rail) you can hire a cab to Khonoma.
Entry formalities and permits for Nagaland:
Before embarking your excursion to Nagaland, you are required to take a permit.
Domestic tourists need to obtain the Inner Line Permit issued by the following authorities - Deputy Resident Commissioner, Nagaland House, New Delhi, Deputy Resident Commissioner, Nagaland House, Kolkota, Assistant Resident Commissioner In Guwahati and Shillong, Deputy Commissioner of Dimapur, Kohima and Mokokchung.
Foreign tourists no longer require a Restricted Area Permit (RAP) / Protected Area Permit (PAP) to enter Nagaland. The new rules only require foreigners to register themselves at the local Foreigners Registration Officer (FRO) of the district they visit within 24 hours of their arrival. This is a temporary change in effect for one year.
Author: Winnie Karnik
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addresses and ports) are generally	expected in network byte-order.
Starts the	ALTQ bandwidth control system.
Stops the ALTQ bandwidth control system.
quent DIOCADDADDR,	DIOCADDRULE and	DIOCCHANGERULE calls.
bers of the structure are ignored.
append the	rule.  nr and action are ignored.
Returns statistics	on a queue.
ber of killed states in psk_af.
Specifies the interface for which statistics are accumulated.
Gets the internal packet filter statistics.
Clears the	internal packet	filter statistics.
Adds or removes the rule in the ruleset specified by rule.action.
The type of operation to be performed is indicated	by action.
PF_CHANGE_GET_TICKET for all actions except PF_CHANGE_GET_TICKET.
r_action, r_num, anchor and ruleset.
Sets hard limits on the memory pools used by the packet filter.
pfrio_ndel	contains on exit the number of tables deleted.
contains the number of tables effectively created.
contains the number of tables effectively deleted.
number of addresses effectively added.
tains the number of addresses effectively deleted.
return the	required buffer	size, without returning	an error.
pfrio_nzero contains the number of	addresses effectively cleared.
removes the persist flag of an unreferenced table.
addresses effectively put in the table.
ing to update some	of the same rulesets concurrently.
on	the inactive rulesets since the	last DIOCXBEGIN.
fp_getnum number until the	ioctl returns EBUSY.
will be set to the	length of the buffer actually used.
Clear the tree of source tracking nodes.
Gets the list of interfaces and interface drivers known to	pf.
Clear the statistics counters of one or more interfaces.
number of interfaces and drivers that have	been cleared.
find the internal host/port of a NATed connection.
The pf packet filtering mechanism first appeared in OpenBSD 3.0.


text:
Survival Readiness
Readiness Is the Key To Survival
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Should You Bug Out or Stay In
Survival Firearms Training
Must-Haves for Your Survival First-Aid Kit
Survival Prepping How To Store Food Long-Term
Survival Prepping Must Have Survival Tools
Survival Prepping 17 Items For Your Bug-Out Bag
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8 Unusual Weapons for Home Defense
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Survival Prepping


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Wedding Band Dangles From Hoop Star Nikola Jokic's Laces on Game Days
Nikola Jokic, the 6'11", 284-pound center for the Denver Nuggets is not only one of the most dominating players in the NBA, but he's arguably one of the sweetest.
Averaging 25 points, 11 rebounds and nearly 10 assists per game, the two-time defending Most Valuable Player strikes fear into the hearts of his opponents while, at the same time, wears a loving tribute to his family on the laces of his size 16 Nike basketball shoes.
As part of his game-day ritual, the Serbian-born big man ties his wedding band into the bow on his left shoe as a heartfelt tribute to the biggest treasures of his life, wife Natalija and one-year-old daughter, Ognjena.
The NBA enforces strict rules about wearing jewelry on the court, but doesn't prohibit the display of bridal jewelry on sneakers.
The subtle — but deeply meaningful — gesture seems to be paying dividends for the perennial All Star, who has helped catapult his team to the top of the Western Conference standings with a record of 31-13.
Social media outlet Official NBA Buzz assembled a collage of Nikola's ring-embellished sneakers on its Instagram page. The ring is a simple platinum or white gold wedding band with beveled edges. See the post here…
Nikola and Natalija met in Serbia and have been dating since they were both in high school. She's been there every step of the way — from his teenage days in the Serbian League to his selection by the Nuggets in the second round of the the NBA draft in 2014. They married in October 2020 and welcomed their daughter 11 months later.
The couple comes from humble roots (Nikola grew up in a two-bedroom apartment that he shared with his two brothers, his parents and his grandmother), but are enjoying the spoils of a new five-year contract extension worth $264 million.
Despite being a public figure, Nikola — aka The Joker — prefers to keep his personal life under the radar. He and his wife maintain a low-profile social media presence and tend to stay out of the limelight.
Credits: Jokic family with the NBA MVP trophy, photo via Instagram / jokic.natalija. Nikola Jokic free throw photo by All-Pro Reels, CC BY-SA 2.0, via Wikimedia Commons. Nikola Jokic shooting photo by All-Pro Reels, CC BY-SA 2.0, via Wikimedia Commons.


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Che notte quella notte! è un film del 1977, diretto da Ghigo De Chiara.

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