text:
METALLICA's 'Black Album' Subject Of New Book
Bloomsbury Publishers will publish author David Masciotra's book on METALLICA's self-titled record as part of its much-celebrated and acclaimed 33 1/3 series.
Says Masciotra: "For the book, I have already interviewed the principal players in the making of the album, including current members of METALLICA — James Hetfield, Lars Ulrich and Kirk Hammett, former bassist Jason Newsted, and METALLICA's former producer, Bob Rock.
"The book is a must-read for METALLICA, metal, and hard rock fans, as I will give up close and personal details, received personally from the band, into the making of The Black Album, and I will examine the importance of METALLICA's music, along with the philosophical depth it possesses."
Official book description: "In 1991, METALLICA released their self-titled, fifth studio album that would become known around the world as The Black Album. Since its release, it has sold 30 million copies, and has become a towering monument in the pantheon of rock's greatest records.
"The 33 1/3 book on The Black Album — the first in the series on the crowned kings of metal — gives readers unprecedented insight into the story behind an iconic album from one of the world's most iconic bands. Written with direct and personal access to all members of METALLICA and Bob Rock, the producer of The Black Album, David Masciotra is able to relay the results of his conversations with James Hetfield, Lars Ulrich, Kirk Hammett, Jason Newsted, and Rock, with storytelling skill and surgical precision. Masciotra takes readers into the recording studio, giving them METALLICA's account of how their most successful and famous record was born and learned to walk into every radio station and stadium stage around the world.
"Masciotra not only talks to the band about the making of the album, but also the stories that inspired the songs. Readers will not only learn about 'The Black Album,' but they will gain greater familiarity with the men who created it. Masciotra argues for METALLICA's coronation within heavy metal, but also persuasively advocates for the aggression, liberty, and spirit of defiance that heavy metal represents. It's a must-read for any METALLICA fan."
An excerpt from the book can be found at 333sound.com.
Masciotra is a cultural critic, political commentator, and columnist with the Indianapolis Star. He is a regular contributor to The Daily Beast, The Federalist, and Splice Today. He is also the author of "All That We Learned About Living: The Art And Legacy Of John Mellencamp".
METALLICA's self-titled LP last year became the first album to sell 16 million copies since Nielsen SoundScan started tracking sales in 1991.
"Metallica" was already certified 16 times platinum on December 13, 2012 by the RIAA (Recording Industry Association Of America) for shipments in excess of 16 million copies in the U.S.
The album in 2009 surpassed SHANIA TWAIN's 1997 record, "Come On Over", as the best-selling CD of the SoundScan era.
Although METALLICA had scored their first radio and video airplay with their previous effort, 1988's "…And Justice For All", the black album was the band's biggest commercial breakthrough, producing five singles and making them into one of the most popular rock bands in the world.
Drummer Lars Ulrich told Rolling Stone in 1991 about the record's musical shift, "We felt inadequate as musicians and as songwriters (early in our career). That made us go too far, around 'Master Of Puppets' and on '…And Justice For All', in the direction of trying to prove ourselves. We'll do all this weird-ass shit sideways to prove that we are capable musicians and songwriters."
Ulrich added about the eight months it took to make the album, "[Recording] should have gone quicker, in theory, than trying to get everything note-perfect like we have before. But as usual with METALLICA, all those theories and normalities go straight out the window. It took us twice as long to make a record that is twice as loose."
Frontman James Hetfield said, "It was [once] a challenge for us to jam every riff in the universe into one song and make it work. Now we're pretty much doing the opposite. Which is even more of a challenge."
The album was the first of four collaborations with producer Bob Rock, with whom the band clashed throughout the recording of the disc. Rock recalled to Music Radar, "The first three months were difficult. They were all very suspicious of me. It wasn't a fun, easy record to make. I told the guys when we were done that I'd never work with them again. They felt the same way about me."
Ulrich said about Rock in NME, "We'd never really had anybody push us before… We've always thought of ourselves as 'Big Bad Metallica,' but Bob taught us a new word none of us had ever heard before: soulful."
METALLICA performed "the black album" in its entirety at a number of European festivals in 2012.
Source: Blabbermouth
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The next step for aros is a presentation on Cebit 2010.
I will work to make it happen.
i testet the Networkcard and soundcards.
Network will be provided through RTL8139D-cards until someone does a native driver. After selling one or two i will donate more to it.
The #1 goes after recieving the logos to the team of AmigaFuture for a review.


The vast redwood forests of Northern California's coastline are mystical. It is dark and romantic beneath these evergreen canopies, where I wandered during my early years in horticulture.
The vast redwood forests of Northern California's coastline are mystical. It is dark and romantic beneath these evergreen canopies, where I wandered during my early years in horticulture. There in the gloom, shelf fungi and mushrooms festoon old-growth stumps and disintegrating trunks that add to the gradual buildup of organic matter on the forest floor.
This was where I first encountered giant woodwardia ferns and rhododendron occidentalis in bloom wherever significant light penetrated the canopy. Even in these second-growth forests that rose up in the wake of 19th-century logging, the redwood trees are awesome in their beauty. It is here that I learned firsthand what Sequoia sempervirens desires to grow just about anywhere winters are no colder than 5 degrees F.
While the north coast can experience enormous winter rainfall, it will be dry from May to November, without any summer moisture.
Coast redwood is a native tree that proves one of the most well-adapted to container culture both at the growers' and retail garden center. Many other natives are finicky about their roots and may be difficult to grow and maintain in containers over time. Despite the enormous size at maturity, redwoods lack a tap root in favor of moderately sized roots to just 10 feet deep. Their strength is, instead, due to a network of fibrous surface feeder roots that feed upon decaying organic matter at the bottom of the duff layer that builds up on the forest floor. Feeder roots are such active travelers that they invade mulch or soil stockpiles and have been known to work their way up into raised beds.
This demonstrs while still very young. The duff layer, composed of dead leaves, cones and twigs, is the equivalent of an equal amount of mulch. Provide this for a young tree and the surface feeder roots thrive, spreading out in cool, moist ground protected by dufflike surface mulch. It explains why redwoods do better in groups of three or more, closely spaced trees, than they do as an individual specimen. The canopies shade each other's roots and provide greater accumulations of litter that acidifies the soil underneath so it's ideal for feeder roots to draw from.
When planting redwood trees, add a good deal of compost to the soil backfill to lure feeder roots beyond the rootball. Select compost rich in aged forestmpost rich in aged forest byproducts for ideal PH, and to introduce important microbes found in coniferous forests everywhere. After planting, immediately mulch the soil surface with a similar compost or planting mix, which may be largely woody matter. Spread it all the way to the outer tips of the branches, a point known as the drip line. Rooting will always be greatest within the drip line, and watering the entire zone is crucial to reaching the entire root system.
Don't pack down the mulch. Leave it light and fluffy. Add more coverage each year in spring to ensure that there's enough in place to protect roots over the summer.
If you walk in the redwood forest over natural duff, you can feel how naturally springy it is. This is due to the stiffness of the redwood leaves and twigs, which are very slow to decompose. This open texture ensures that rain or irrigation water moves through quickly to reach the soil where feeder roots lie waiting. Pack your mulch too tightly and rain or irrigation may not penetrate as well, instead running off well beyond the drip line.
When your redwoods grow older, add wood chips to your mulches. With the trees having such a thick layer augmented by their own natural litter, you'll be able to walk beneath the branches and feel what it's like in those legendary redwood forests.


text:
Carrier Corporation — американська компанія, яка займається створенням кліматичних систем і обладнання. Є світовим лідером в галузі кондиціонування, опалення та вентиляції. Головний офіс компанії Carrier розташований у Farmington, штат Коннектикут, США. Carrier має світову мережу з сотні дистриб'юторів й тисяч дилерів, які продають, встановлюють та обслуговують продукти в 171 країні. Продукти Carrier розробляються у двадцяти інженерних центрах та виготовляються на 108 заводах, розташованих по всьому світу. Входить до холдингу UnitedTechnologiesCorporation.

Історія

Заснована у 1902 році, коли Вілліс Керріер винайшов свій перший кондиціонер. Першим клієнтом Керрієра став Нью-Йоркський поліграфіст, який ніяк не міг надрукувати гарної якості кольорове зображення, оскільки мінлива температура та вологість викликали зміни розмірів паперового листа та зміщення місць нанесення фарби.

Перші два десятиліття винахід Керрієра, який дозволив керувати температурою та вологістю всередині приміщень, застосовувався в основному для створення комфортних умов роботи машинам та технологічним процесам, а не людям. Південні текстильні фабрики Сполучених Штатів були серед перших споживачів нової системи Керрієра. Недостатність вологи в повітрі на фабриці з переробки бавовни в Белмонті, штат Нова Кароліна, створювало підвищену електризацію в приміщенні, яка робила бавовну непридатною до обробки. Система Керрієра підняла й стабілізувала вологість.

Перша поставка системи Керрієра за межі Сполучених Штатів була здійснена в Японію у 1907 році для шовкової фабрики в Йокогамі.

Продукція

Основні продукти:

 Чіллери
 Фанкойли
 Мобільні кондиціонери
 Центральні кондиціонери
 Компресорно-конденсаторні блоки з повітряним охолодженням агрегату
 Моноблочні кондиціонери внутрішнього встановлення та дахові кондиціонери
 Конденсатори та охолоджувачі рідини з повітряним охолодженням

Carrier Corporation в країнах СНД

Посередником Carrier Corporation в СНД є компанія AHI. AHI здійснює свою діяльність через офіси, розташовані в Шарджі (ОАЕ), Москві (Росія), Києві (Україна) та Алмати (Казахстан), де є команда спеціально підготовлених та досвідчених інженерів, які спеціалізуються на НВКП (нагрівання, вентиляція та кондиціонування повітря) для надання всебічної технічної підтримки клієнтам. Необхідне обладнання підбирається і постачається з будь-якого заводу Carrier, розташованих по всьому світу.

Carrier Corporation в Україні

В галузі обладнання для нагрівання, вентиляції та кондиціювання повітря прямим дилером Carrier в Україні є компанія «Інноваційна група», яка пропонує повний спектр обладнання цієї марки, а також його встановлення.
Компанія ДП "Професійні системи" є авторизованим дистриб'ютором напрямку Commercial Refrigeration і пропонує повний спектр професійного холодильного обладнання для супермаркетів та ресторанів - холодильні шафи, вітрини, регали, бонети.

Примітки

Посилання
 Офіційний сайт компанії
 Представник Carrier в Україні, напрям "Нагрівання, вентиляція та кондиціювання повітря"
 Представник Carrier в Україні, напрям "Комерційний холод"

Підприємства Коннектикуту
Підприємства, засновані 1992

redpajama_set_name: RedPajamaWikipedia


One inevitable feature of life is coping with life as we age. Some losses are minor; some are massive. We lose physical characteristics, abilities, and loved ones—our hair, our bone density, our eyesight, our hearing, our best friend, our spouse. These losses can lead to grief, loneliness, and despair. We may wake up in the morning with an overwhelming sadness that starts before our conscious mind is even alert, and we're reminded of what happened, that it wasn't just a bad dream.
Realistic positivity means seeing and accepting what is now—both in our inner and outer worlds—and then putting our focus on what we would love. Seeing life through the lens of realistic positivity can have a massive effect on our enthusiasm for life and interest in moving forward after loss. When we accept the truth that "the only constant is change," and that change often entails loss, we become more resilient in the face of loss. We are open to life filling the void without our intervention, and we can proactively fill it when it doesn't.


Kate Plummer: What makes a successful rebrand?
With big and small charities shaking up their brands, Kate Plummer goes behind the logos to see what makes a successful rebrand.
"If a brand is weak but the charity has a good programme, it's not selling itself to its audience," says Rob Kelly, communications lead at Frontline AIDS. His charity underwent a major rebrand in February, changing its name, logo and strategy.
From attracting donors to working with beneficiaries, branding plays an important role in cementing a charity's place in the sector and its ability to carry out its objectives. Charities must regularly adjust to reflect internal and external contexts. Sometimes, this means a new strapline is rolled out, or a logo is given a lick of paint. But often, charities will undergo a total rebrand.
With the risk of alienating existing support ever present, what motivates a charity to discard their old image in favour of something new? Some charities rebrand to reflect deep structural changes in a charity. When Alcohol Concern and Alcohol Research UK merged in November 2018, it was clear that the resultant organisation was different. Alcohol Concern focused on campaigning while Alcohol Research UK, unsurprisingly, focused on research. So, they became Alcohol Change UK (or ACUK).
"We decided very early on that our new organisation needed a new brand to help us deliver on the new charity's ambition," says Maddy Lawson, communications manager at the charity.
The charitable cause can also lead a charity to change its image. Frontline AIDS rebranded due to changes in the cultural perception of HIV and AIDS. Kelly says that due to progress made in fighting AIDS, the syndrome has fallen off the global agenda and the momentum to "finish the job" has "lost its energy".
Money was also a deciding factor. The charity rebranded to "diversify income", since its income model shifted from aid and government grants to general fundraising.
Once a charity has decided to rebrand, the process is important. Frontline AIDS conceptualised the rebrand in two phases: development and implementation. In the development phase, the charity interviewed 280 stakeholders, including donors and target donors to measure external perceptions of the brand, and to source ideas about what needed to change. Kelly says the quality of this initial research was "absolutely crucial".
Charities can then create their new designs. For some, this means recruiting an external branding agency to further development. Frontline AIDS wanted to work with an agency that would be able to work fast. It chose the branding agency Brandpie as it liked that the agency had mainly worked with corporate clients in the past. Kelly said the charity valued "an outside perspective" from the sector.
ACUK invited various agencies to pitch their ideas to the charity. "We were looking for an agency that would challenge us, keep us realistic and work creatively and collaboratively with our small team," Lawson said.
Like Frontline AIDS, it wanted an agency that was willing to take on a challenge. Unlike Frontline AIDS, it wanted a branding agency experienced with "charity and merger rebranding". The agency Offthetopofmyhead fit the criteria.
With or without agency support, tough decisions on design are then taken, dependant on the needs of the charity. Sue Ryder rebranded in September 2018 because it wanted to raise awareness about its new bereavement services. The charity kept the logo because "it was recognisable and already known by healthcare professionals, people we care for and supporters," said a spokesperson.
LGBTQ+ charity akt, on the other hand, changed its name and logo to lower-case last month due to "a combination of avoiding the acronym appearing too 'corporate' and creating something that visually was a little more unusual," said Matt Horwood, assistant director of communications at the charity.
Then there's phase two: implementation. For akt, this involved creating a teaser campaign on social media to start conversations about what the brand was doing. This "went down really well with our supporters online," said Horwood. Next, the charity notified the media via press releases, and sent newsletters to stakeholders. "We also unveiled a large banner on Canal Street, in Manchester's Gay Village," Horwood said.
The Canal and River Trust underwent a similar process, but kept its new logo a secret from stakeholders until the brand was officially launched. It then decided to roll out the new visuals in a two-to-three-year period, replenishing stock and merchandise as it runs out, rather than replacing it all immediately.
Kelly agrees that implementing a new brand is an ongoing process. "These things are rarely fully done," he says.
In undergoing a successful rebrand, charities must be prepared for the challenges that they may face. The spokesperson from Sue Ryder said a notable difficulty was "getting input from all area of the charity without it becoming design by committee".
Smaller charities may face the inverse issue. Horwood notes that akt started its rebrand before there was a communications director at the charity, and it could not benefit from huge resources.
Kelly agrees. "Too often brands are just about logos and colours and this is where they fail to reap rewards," he said.


Owners of the HTC One (M8) through T-Mobile, your Android 5.0.1 "Lollipop" is now available. Originally scheduled for release yesterday, the update was pushed one day to today, which you likely didn't even realize. On that note – even though HTC technically missed their 90-day HTC Advantage update window, they certainly didn't miss it by much with some of these carrier variants.
In the update, users will see software version 4.20.531.4, which includes a familiar Sense 6 experience, but with touches of Lollipop spread throughout. New features like lock screen notifications, notification controls, a revamped notification shade, Smart Lock, screen pinning, and a re-designed app switcher are all included.
You can try and pull the update by heading into Settings>About>Software update>Check now. The update weighs in at 634MB – it's a big one.
To see our tour of Lollipop on the HTC One (M8) with Sense 6, check out the video below.


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text:
Back To Normal Isn't Enough
1:04 PM EST on January 14, 2022
By Kelsey McKinney
Yesterday, I went to the local pharmacy in my neighborhood to pick up my monthly prescriptions. The pharmacy is small and narrow, and was crowded at 5 p.m. A few children were waiting in line to receive booster shots, their tired-eyed parents trying to corral them. The rest of us stood in another line waiting for the pharmacists, who raced back and forth trying desperately to keep the parents calm and the vaccine line moving and the prescriptions going into their bags and over the counter and out of the store. They were overwhelmed. The line kept growing.
One of the parents kept waving the clipboard with the form for his child every time the pharmacist had a minute to breathe. Around the fifth time he did this, two men waiting patiently near me in the line turned and snapped at him. "Shut the fuck up," the guy in front of me said. "Can't you see he's trying his best?" There was no evident coordination between the two. They just each seemed to reach the end of their respective tethers at the same moment.
The pharmacist ignored this exchange, but the tension lingered. The annoying parent, to his credit, stopped waving the clipboard, stopped asking when it would be his child's turn. Standing there for 20 minutes, waiting, I felt a dread that has appeared regularly and without warning for months. All of us were at, or near, our breaking points: the people in the line, the pharmacists, the children, the parents. Everyone is exhausted and frustrated.
All around the pharmacy these signs were hung, printed on regular paper with the words "NO RAPID TESTS" in giant blue font, highlighted yellow. They have been up for weeks. It all feels like some terribly boring nightmare, this gentle constant frustration in the space where hope used to be.
Two weeks ago, in the same pharmacy, I helped a woman who only spoke Spanish find the city webpage about rapid tests on her phone. We are lucky in Washington, D.C. Our city government has decided to do something, and done it. They have made rapid tests free to pick up at one library in each ward, two rapid test boxes per person per day with proof you live in the district. There are no flyers anywhere about this, though, and unlike the many times our mayor has instituted curfews, the city sent no push-alerts telling people about it. I knew because I read local news and follow my city representative on Instagram. When I told the woman in the pharmacy, she had no idea.
Standing in the line this week, I could not stop thinking about her, about the signs that only said NO, about the fact that the president of the country where all this has been and still is happening, tweeted last week that American people should try Google to find rapid tests instead of doing what many other wealthy countries have easily managed, which is mailing those tests to people's houses for free. I have been thinking about how it feels and what it means to have been left so thoroughly alone.
Get a vaccine, the CDC says, because you can't afford to get sick. Pay $30 for a rapid test, the drugstore says. Get to work, employers say, it's important. Quitting your job, the papers add, will upset your boss, whose feelings matter. You shouldn't have used that space heater to keep your family warm since the landlord refuses to fix the heat, a mayor tells the survivors and the dead of a building fire; you should have closed the door, which was built to close by itself but does not, as you fled your burning apartment. All of this, finally, is your problem. It's your fault. It's you.
It's not, though. That's what has been keeping me awake long after I've climbed into bed. It's not us. We are not the ones who have failed. The country has always worked this way. You just tend to notice it more when all that absence comes barrelling down on you at once.
Early in the pandemic, I felt a dangerous kind of hope even when things were very bad. Lots of people were dying; everyone on the street seemed terrified. There was very little toilet paper to be found in my neighborhood. Everything was dire. In April 2020, 14 percent of Americans were unemployed. But it also seemed like the government might actually do something to help, and they did. They passed a bill to fund vaccine research and development worth $8.3 billion. They passed the CARES act, which actually sent people some money to help them survive. Student loan payments were suspended, as were evictions. Maybe, I let myself dream, this could open up some kind of possibility down the line—that watching our society crack might inspire us to patch those weak points up, maybe even through some sort of New Deal. Maybe this massive universal trauma could be redeemed, and future ones prevented, by creating a society that worked better for everyone.
And we got the CARES Act, and we got the miraculous vaccine. Scientists were stunned that, less than a year after the global outbreak of the virus, vaccines were being put into people's arms. It had never been done before! But that initial burst of optimism has long since left behind a country bitter, and scared, and broken. Today, 10 months after my first dose and two months after my booster, I realize that my hope and my optimism was unfounded. The points of weakness are now points of leverage—you can still lose everything just from getting sick, the state says, so get vaccinated. And good luck. We have been rewarded for all of our suffering and all of our patience and all of our frustration with not just the same broken country we've always had, but a concerted effort to make sure that Returning To Normal does not mean improving upon the pre-COVID status quo in any meaningful way.
Hospital stays can be expensive, but COVID-19 vaccines are free. Help protect yourself from being hospitalized with #COVID19 by getting vaccinated.
Find your vaccine: https://t.co/xbvNiaVJKV. pic.twitter.com/NEwqZqzAwI
— CDC (@CDCgov) December 27, 2021
The United States does not become the kind of country that threatens its citizens with onerous hospital bills as part of a vaccine promotion campaign by accident. This is how the country was built, and how the system has grown to work; it is how it was designed. Even miraculous innovation on the order of mRNA vaccines is not used to make everyone's lives better. It was only marketed that way, for a little while.
This might explain, as I've tried to figure out this blog, why I have not been able to stop thinking about the cotton gin. Most Americans were taught in school that the cotton gin was an American invention, the creation of a man named Eli Whitney. But until a couple of years ago, I didn't realize why the cotton gin is really important.
I learned through reading The Half Has Never Been Told by Edward Baptist that before Eli Whitney invented the cotton gin in 1793, the profits of crops like indigo, tobacco, and rice—all of which were farmed by enslaved people—were dropping dramatically, leaving the U.S. economy in trouble. Cotton, a potential cash crop, was thwarted by a very narrow bottleneck in its production. Seeds had to be removed from the cotton by hand, which dramatically limited the amount of cotton that could be picked every day. That work is what the cotton gin did. It allowed enslavers to clean as much cotton for market as they could grow and harvest, and broke that bottleneck. This, we have been taught, was a world-historic innovation. But there was more to it than that, Baptist explains:
"Once the gin shattered the processing bottleneck, other limits on production and expansion were cast into new relief. For instance, one constraint was the amount of cheap, fertile land. Another was the lack of labor on the frontier. So enslaver-generals took land from Indians, enslaver-politicians convinced Congress to let slavery expand, and enslaver-entrepreneurs created new ways to finance and transport and codify 'hands.' And given a finite number of captives in their own control, entrepreneurs created a complex of labor control practices that enslaved people called 'the pushing system.' [...] Innovation in violence, in fact, was the foundation of the widely shared pushing system."
The cotton industry, bolstered by this invention, was later used by economists as an example of "perfect competition." The market was so large that no one could control more than one percent of the total. Innovations were shared among these competitors, including innovations in violence. The cotton industry of the 19th century was the archetype upon which Alfred Marshall grounded the famous supply-and-demand curves we were all taught in school. An industry based entirely on the inhumane and atrocious business of slavery meant enough to the people profiting from it that they seceded from the union and started a civil war.
Ever since I learned this, I haven't been able to hear the word "innovation" without cringing. Who is the innovation for? Whose lives will it ruin, and what exactly will it make better in the world? This, I am coming to realize, is the fundamental flaw with capitalism as we live it. If it does breed innovation, that innovation has no inherent ethics; left alone, it could ruin more people's lives than it helps.
A system that funnels rapid antigen tests through various companies trying to make money off them, for instance, isn't one that cares about us at all, although it is the one in which we must participate in pursuit of that care. Sure, we have the miracle of the vaccine, but as I am being promised that we will be "returning to normal" soon and that the country is "reopening," I don't feel optimistic. The normal we had before was bad for most people. After two years of misery, going back to it just does not feel like enough. The vaccines are miraculous, but they cannot and will not fix what actually ails us.
The minimum wage is still atrociously low. Cops are still shooting black people in the streets. School shootings are only down because the students are learning virtually. Everything is more expensive and not any nicer. Our experiences of buying things are also bad. The government's relationship with the people is that of a disapproving and forgetful grandparent with a very young and very naughty child. The country is in shambles, and everyone can feel it.
Here is the trauma of this generation, the moment in which the present became so oppressive and deadly and bad that there was no choice but to envision a better future. How silly of me to assume that what had held true for the generations now in power would extend to us. How ridiculous to dream that we might get our own Works Progress Administration, or a livable minimum wage, or some student loan debt relief. How impossibly naive to believe that something might get better as a response to how much worse everything had become.
The people in charge, it seems clear, never wanted things to get better. Since the earliest days of the pandemic they have given us vague instructions, asked us to sacrifice our lives and our happiness for the faint promise of Getting Back To Normal. If we suffered gamely enough, for long enough, we might win back... the same country we had before.
It's the same threat the Democratic party makes every election cycle now. "We've got to vote like the future of our democracy depends on it," a letter from Michelle Obama published this week read. The Republican party is making a very real effort to restrict voting rights and make future frauds easier to perpetuate, but the opposition's promise isn't a better future or a better life. The Democrats are now the party of only trying to stop things from getting worse; they currently control the House, the Senate, and the Presidency and yet they have accomplished very little, either because they are so corrupt or so self-defeating or so uninterested as to have accepted the idea that Accomplishing Very Little is what they are there to do. Because there is no link between "saving democracy" and the policies this so-called democracy might pass to make our lives better, it once again feels like we are being threatened. That's a nice brutal and untenable status quo you've got there, it leers, be a shame if you did something that let it get somehow even worse. We have now endured almost two full years of all this hardship, and stand to get nothing but its (contingent) end in return.
Time does not run backwards. The virus exists now and will continue to exist. But in order to continue underserving the people they represent, elected officials need us to believe that the past was an idyllic time to which we should want to return. They need us to look at the cotton gin and praise American innovation, instead of seeing an instrument of violence. They need us to idealize the past because the system blithely fails most people in the present. They need us to feel like it is our fault that the things schoolchildren are told make the United States different, and great, quite obviously no longer work at all.
Standing in the pharmacy this week, I remembered how early in the pandemic there was a small hope that maybe, because everyone was sick, insurance companies would somehow go bankrupt. Maybe, we would finally get some kind of healthcare to rival every other democracy in the world. I remembered this because for months I have been fighting with my insurance. I need to take 450 mg of a drug. My initial prescription was for three 150 mg pills, but the insurance I pay so much fucking money for argues with the pharmacist every single month because they want me to take one 300 mg pill and one 150 mg pill. The prescription has been fixed to this inane, ridiculous requirement for months now, but still the insurance flags it and creates some kind of problem that the overworked but very kind pharmacist then has to solve for me. Every single person in the line in front of me had an issue like this.
The pharmacy wasn't chaotic because the people behind the counter weren't doing their jobs. The pharmacy is chaotic because the system in which it exists pushes it towards that chaos. The chaos was caused by a poor vaccine rollout program that forced extra work onto pharmacists without extra staffing or resources. It was caused by a terrible healthcare system that makes it difficult for them just to fill prescriptions in the first place. It was caused by poor, lazy information distribution, which made it unclear when children could be boosted and how. It was not caused by people who, after being ground down for two years, just didn't have the bandwidth to think about other people. You have to put your own oxygen mask on first so that you can help the people around you.
That, then, was what hung in the air in the pharmacy after some tired men told another tired man to calm down—the sense that all of us just had to try to get what we could. I see people all around me helping each other even more than before. Everyone is frustrated, and their patience is thin, but no one is defeated yet. In the pharmacy, people yelled at the clipboard man, sure, but it was to help the pharmacist. They held open the doors for a parent with a stroller. They pointed when someone dropped a glove. The desire to support each other is unflagging even when people are exhausted.
We pay taxes, theoretically, so that the oxygen masks will (at a bare minimum) drop from the ceiling before the plane crashes. But the masks are not dropping and we are rapidly losing altitude. The option of paying $40 for a mask that should be handed to us is dangled in our faces while a $2.1 billion fighter jet lands safely beneath us. The government, whose only purpose is to help us work better than we work alone, is fundamentally failing us. Of course it is infuriating.
The problem is no longer just the pandemic. It is, more precisely, that our government is blaming the pandemic for problems that it created. We do not deserve to go back to a normal that is so terribly bad for most people. We do not deserve to pay more for worse things. We do not deserve to be sold the lie that it is just more important for companies to make money than it is for us to live. Certainly no one would choose that, if they felt they had a choice.
We deserve a country that uses our tax dollars to make our lives richer, and better, and easier. We deserve a country that can promise a future that improves upon some glorified, false version of our past. We deserve, simply, a country that makes it easier to be alive. That is what a society is supposed to be—people working together to help each other and make the places they live better. It is what we wait for, what keeps the lines orderly. It is supposed to get better.
Kelsey McKinney@mckinneykelsey
CDC,
joe biden,

redpajama_set_name: RedPajamaCommonCrawl


by Dr. James Benedict Brown is the title of new book from RIBA Publishing and also the title of a conference paper given at ARCLIB, the Architecture Librarians' Conference in July. James, essentially whet our appetite with this visually engaging introduction to his latest publication. An architect by profession, he shared the burden of his inability to engage with the built environment in any way but critically; noticing the smallest detail of a cornice, a pillar, how people navigate spaces in restaurants and so on. He has even taken this to spotting things in spaces mediated by television. Questioning, "Why is it like that?" has culminated in this book.
He began his presentation by sharing how the spaces in our homes have adapted to our television viewing habits: the living room centred around the television, originally hidden in the oak cabinet, now the huge flat screen attempting to blend in to the decor. James drew our attention to the power shift between television and computer and the all encompassing device it has now become. A reminder that the Open University, first brought learning into the home through the medium of television.
Then, moving on to the spaces within the programmes we watch, he made us aware of the theme of domesticity and how we like to see ourselves through soap operas. He had begun to introduce one of the themes of the book, examining the intersections of architecture created by broadcast media, a kind of hybrid version of a real/imagined world, for example, sets reflecting our significant cultural heritage; the pub in our street – something we can all relate to, yet is rarely experienced now.
Examining the architecture of television news, he draws our attention to the media colluding to create spaces that assert a particular message or power structure. The news broadcasts with the busy offices behind, suggesting a team of committed researchers and reporters working behind the scenes – you can trust us! Orignally introduced by CNN and copied by Norman Foster's home of ITN, this 'set' was subsequently abandoned for a 'green screen' a virtual reality space, easily updated. Similarly for the football reporting studios, where camera's pan around to seemingly look over the football pitch; its a construct. And so the architects have been written out of the broadcast space and replaced by virtual/augmented reality programmers.
Finally, James focussed on the architectural landmarks of television production including a little of its history such as old theatre spaces, including Glasgow's Theatre Royal, re-inhabited as the home of the first independent TV channel. Familiar spaces such as Terry Farrells's TV Am building (now MTV), Good Morning Britain's famous view over London – a construction because the real one often looked dreary! and BBC's One Show which does not really have the pavement outside – they are all representations of how the organisations want to be seen.
I guess we know that television spaces are this kind of mixed reality but how conscious should we be of these media constructs? Its all part of our visual literacy – our awareness of being critical with the environments around us. James's presentation has certainly whet my appetite. I look forward to reading more now that we have the book in the library.


The 63-year-old liquir baron is wanted in India on alleged fraud and money laundering charges amounting to an estimated Rs 9,000 crores.
"Over the last several weeks and months, the company has tried every means possible to seek both interim and long-term funding". The airline will operate its last flight tonight.
"Since no emergency funding from the lenders or any other source is forthcoming, the airline will not be able to pay for fuel or other critical services to keep the operations going. and has chose to go ahead with temporary suspension of operations", the airline said.
Ending speculation over the next course of action, the crumbling Jet Airways finally announced that it will temporarily suspend operations from Wednesday night.
"Will the money come, or will we shut operations by end of the day?" - the question hangs heavy in the air at Siroya Centre, the Mumbai-based headquarters of Jet Airways. On April 17, 2019, its website lists only 37 domestic flights, explaining the reasoning behind massive cancellations (yesterday alone it canceled ten flights) as "operational".
It was not immediately clear who else might bid for the company. Sad that so many Airlines have bitten the dust in India. "We are actively working to try and ensure that the bid process leads to a viable solution for the company". It is offering stake from 31.2 to 75 per cent of the company on a fully diluted basis. The airline has proudly fuelled India's economic engine, enabling business travellers and tourists alike to traverse the length and breadth of India and the world.
Billionair businessman Vijay Mallya, whose Kingfisher Airlines was a big competitor for Jet Airways before it too went bust, took to Twitter to express his sympathy for Naresh Goyal, the airline's founder. "Even during the toughest of times, Jet Airways employees have worn a smile on their face and put their duty to its guests and the nation first", it said in a statement.


Rock Hill is the largest city in York County, South Carolina and the fifth-largest city in the state. Rock Hill was founded in 1852 and incorporated in 1870.
The Rock Hill City Directory collection consists of Rock Hill, SC city and telephone directories. They list addresses and phone numbers of the City of Rock Hill, SC residents, businesses, churches, and other buildings and establishments. The directories are a great source for genealogists searching for Rock Hill relatives and for local historians interested in the development of Rock Hill as a city.
Additional volumes are added every year as they are produced by the City of Rock Hill, SC.
23 bound volumes were transferred from The Reference Department of Dacus Library and 21 bound volumes were transferred from the Rock Hill Chamber of Commerce Records, Acc. 88, on April 8, 1988. Additional volumes are added every year as they are produced by the City of Rock Hill, SC.
Louise Pettus Archives and Special Collections, Winthrop University, "Rock Hill City Directories - Accession 89". Finding Aid 237.


Advancing women's careers: why men matter : Gender in Organizations Are Men Allies or Adversaries to Women's Career Advancement?
We have been interested in supporting the advancement of qualified women into executive and CEO roles for some time. Unfortunately, progress has been both slow and uneven. We have come to realize that if more men became allies of these women instead of adversaries, significant benefits would fall to women, men, families, organizations, and societies at large. This chapter summarizes our thinking and sets the stage for the chapters that follow. Here is a summary of what we have come to believe. Organizations are gendered and masculinized. This gives men an unacknowledged and unearned advantage. As a result, women face additional challenges in the workplace. Masculinity has potential dysfunctional consequences for men and their health, for families, for organizations and for society. Both the workforce and organizations are changing in ways that are beginning to challenge the gendered nature of organizations. As more men begin, and continue, to support capable, ambitious, and bright women in the workplace, it will enhance both womenís and menís wellbeing, family enrichment, and organizational performance.


text:
Nov 15, 2008 Issue
Clinical Diagnosis of Melanoma
MARK EBELL, MD, MS, University of Georgia, Athens, Georgia
Am Fam Physician. 2008 Nov 15;78(10):1205-1208.
Clinical Question
How accurate are clinical examination and dermoscopy findings in the diagnosis of melanoma?
Evidence Summary
The incidence of melanoma is increasing in the United States. Although there is insufficient evidence to recommend routine screening for skin cancer,1 physicians and patients are encouraged to be vigilant for suspicious skin lesions.2 The classic mnemonic for the clinical diagnosis of melanoma is the ABCD criteria (asymmetry in two or more axes, irregular border, two or more colors, diameter). Although the criterion for diameter was originally greater than 6 mm, the best study on the accuracy of the ABCD criteria uses 6 mm or greater.3,4
Some researchers have extended the ABCD criteria into the ABCDE criteria by adding enlargement, elevation, or evolution (i.e., enlargement, changes in thickness, and bleeding) as a criterion.4 The best study of the accuracy of the ABCDE rule included 460 unselected, consecutive patients with melanoma and 680 patients with other pigmented lesions.4 The study used a cutoff of 6 mm or greater for diameter; determined enlargement as described by the patient; and blinded the histopathology, which served as a reference standard (all patients were biopsied). The authors of the study reported on accuracy when more than one finding was abnormal. The most important finding was enlargement (positive likelihood ratio [LR+] = 8.4).4
Another clinical finding associated with melanoma is the "ugly duckling sign", also called outliers. This refers to a mole that differs significantly in appearance from other moles on the patient; such moles are more likely to be a melanoma. In a prospective study using unaided and dermoscopic images, the ugly duckling sign was more sensitive when defined as any lesion perceived as different from other moles. It was more specific when defined as any lesion perceived as completely different.5
Dermoscopy is an office technique in which a magnifier is placed on skin that is covered with liquid. By using cross-polarized light, it is possible to see structures in the epidermis and superficial dermis that are not visible to the naked eye, thus allowing for better recognition of the ABCD signs of melanoma.
There have been three meta-analyses of dermoscopy.6-8 A 2001 meta-analysis identified eight studies comparing dermoscopy with unaided clinical diagnosis using the naked eye.6 In all eight studies, dermatologists were blinded to the final diagnosis and there was an adequate spectrum of pigmented lesions. Dermoscopy was generally more accurate than unaided examination (LR+ = 9.0 versus 3.7; negative likelihood ratio [LR–] = 0.11 versus 0.27).
A 2002 meta-analysis did a more thorough search of the literature and identified 27 studies.7 Fourteen of these studies compared dermoscopy with clinical diagnosis, including several in which dermoscopy was performed by nonexperts. Accuracy data (presented as log odds ratios and the area under the receiver operating characteristic curve) showed that dermoscopy was more accurate than unaided clinical diagnosis when performed by experts, but not by nonexperts.
The most recent meta-analysis, which was conducted in 2008, limited the analysis to high-quality studies comparing dermoscopy with unaided clinical examination.8 These studies included prospectively enrolled, consecutive patients in the clinical setting, were blinded and independent, and used a valid reference standard. The nine studies, with 8,487 skin lesions, that were included in the analysis showed that sensitivity was higher for dermoscopy than for clinical examination (87 versus 69 percent after removing two outlier studies). However, specificity was similar between the two examinations (91 and 88 percent, respectively). Thus, although dermoscopy improves the sensitivity of diagnosis, it requires adequate exam iner training.
Table 1 includes accuracy data for the ABCDE rule, the ugly duckling sign, and dermoscopy.2,4,5,8-11 Whenever the patient physician is concerned about a skin lesion, regardless of ABCDE or dermoscopy findings, a biopsy is strongly recommended Even pigmented lesions that only meet one of the ABCDE criteria are sometimes malignant, particularly if they are very different from other moles or if they are enlarging evolving. If the patient declines biopsy, the physician should photograph the lesion and have the patient return for a follow-up after a defined period, such as one month.
View/Print Table
Accuracy of Diagnostic Techniques for Melanoma
LR+
Probability of melanoma given a 5% pretest probability (%)*
Positive test result
Negative test result
ABCDE criteria4
Border (irregular)
Color (two or more colors)†
Diameter (6 mm or greater)
Enlargement (by patient description)
At least 1 abnormal finding
At least 2 abnormal findings
"Ugly duckling sign" (outliers)5
Any mole perceived as different from other moles
Only those moles perceived as completely different
Dermoscopy (abnormal)‡8
ABCDE = asymmetry in two or more axes, irregular border, two or more colors, diameter, enlargement; LR– = negative likelihood ratio; LR+ = positive likelihood ratio.
*—Pretest probability is an estimate based on a large series of patients with pigmented lesions suspicious enough to undergo biopsy.9
†— Does not include symmetrical darkening of the center of the lesion.
‡— Criteria used for abnormal dermoscopy finding included the ABCD criteria, Menzies method,10 and seven-point checklist.11
Information from references 2, 4, 5, and 8 through 11.
Applying the Evidence
A patient presents with a symmetrical lesion that has a regular border, has a blue-black coloration, and is 7 mm in diameter. The patient believes that the lesion has enlarged in the past three months. There are few other moles on the patient, and no ugly duckling sign. How do you advise the patient?
Answer: The patient has three abnormal findings using the ABCDE criteria (color, diameter, enlargement). Given a 5 percent pretest probability, her likelihood of melanoma is approximately 15 percent. You recommend a biopsy.
Address correspondence to Mark Ebell, MD, MS, at ebell@uga.edu. Reprints are not available from the author.
Author disclosure: Nothing to disclose.
1. U.S. Preventive Services Task Force. Recommendations and Rationale. Counseling to Prevent Skin Cancer. October 2003. http://www.ahrq.gov/clinic/3rduspstf/skcacoun/skcarr.htm. Accessed October 16, 2008....
2. Bevona C, Sober AJ. Melanoma incidence trends. Dermatol Clin. 2002;20(4):589–595.
3. Abbasi NR, Shaw HM, Rigel DS, et al. Early diagnosis of cutaneous melanoma: revisiting the ABCD criteria. JAMA. 2004;292(22):2771–2776.
4. Thomas L, Tranchand P, Berard F, Secchi T, Colin C, Moulin G. Semiological value of ABCDE criteria in the diagnosis of cutaneous pigmented tumors. Dermatology. 1998;197(1):11–17.
5. Scope A, Dusza SW, Halpern AC, et al. The "ugly duckling" sign: agreement between observers. Arch Dermatol. 2008;144(1):58–64.
6. Bafounta ML, Beauchet A, Aegerter P, Saiag P. Is dermoscopy (epiluminescence microscopy) useful for the diagnosis of melanoma? Results of a meta-analysis using techniques adapted to the evaluation of diagnostic tests. Arch Dermatol. 2001;137(10):1343–1350.
7. Kittler H, Pehamberger H, Wolff K, Binder M. Diagnostic accuracy of dermoscopy. Lancet Oncol. 2002;3(3):159–165.
8. Vestergaard ME, Macaskill P, Holt PE, Menzies SW. Dermoscopy compared with naked eye examination for the diagnosis of primary melanoma: a meta-analysis of studies performed in a clinical setting. Br J Dermatol. 2008;159(3):669–676.
9. Argenziano G, Puig S, Zalaudek I, et al. Dermoscopy improves accuracy of primary care physicians to triage lesions suggestive of skin cancer. J Clin Oncol. 2006;24(12):1877–1882.
10. Menzies SW, Ingvar C, Crotty KA, McCarthy WH. Frequency and morphologic characteristics of invasive melanomas lacking specific surface microscopic features. Arch Dermatol. 1996;132(10):1178–1182.
11. Argenziano G, Fabbrocini G, Carli P, De Giorgi V, Sammarco E, Delfino M. Epiluminescence microscopy for the diagnosis of doubtful melanocytic skin lesions. Comparison of the ABCD rule of dermatoscopy and a new 7-point checklist based on pattern analysis. Arch Dermatol. 1998;134(12):1563–1570.
This guide is one in a series that offers evidence-based tools to assist family physicians in improving their decision making at the point of care.
Editor's Collections
Point-of-Care Guides (AFP by Topic)
Continue reading from November 15, 2008
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Home / Journals / afp / Vol. 78/No. 10(November 15, 2008) / Point-of-Care Guides: Clinical Diagnosis of Melanoma


text:
Caratteristiche tecniche
È un difensore centrale.

Carriera

Club
Cresciuto nel settore giovanile del , nel 2019 viene mandato in prestito agli olandesi del  coi quali esordisce il 19 ottobre 2019 disputando l'incontro di Eredivisie perso per 1-0 contro il .

Nazionale
Con la nazionale inglese Under-17 ha preso parte al campionato europeo di categoria, contribuendo al raggiungimento della finale persa ai rigori contro i pari età della ; nell'occasione fallisce il terzo e ultimo tiro a disposizione. Viene successivamente incluso nei convocati per il campionato mondiale di calcio Under-17 svoltosi in India sempre nel 2017 e vinto dagli inglesi ancora una volta in finale con la Spagna.

Statistiche

Presenze e reti nei club
Statistiche aggiornate al 12 gennaio 2023.

Palmarès

Nazionale
 Mondiale Under-17: 1
 India 2017

Note

Collegamenti esterni

Calciatori inglesi


text:
Collevecchio is een gemeente in de Italiaanse provincie Rieti (regio Latium) en telt 1540 inwoners (31-12-2004). De oppervlakte bedraagt 27,2 km², de bevolkingsdichtheid is 55 inwoners per km².

Demografie
Collevecchio telt ongeveer 563 huishoudens. Het aantal inwoners steeg in de periode 1991-2001 met 1,2% volgens cijfers uit de tienjaarlijkse volkstellingen van ISTAT.

Geografie
De gemeente ligt op ongeveer 245 m boven zeeniveau.

Collevecchio grenst aan de volgende gemeenten: Civita Castellana (VT), Magliano Sabina, Montebuono, Ponzano Romano (RM), Stimigliano, Tarano.

Gemeente in Rieti


It has been a relatively strong week for the USD across the majors. The movement in pricing has produced many opportunities to profit over the first four trading sessions. Is this the beginning of an intermediate-term USD bull run moving into the close of 2017?
Talks of a prolonged recovery may be a bit premature. However, the recent strength against the EUR, CAD and CHF gives one reason to ponder the long-term prospects of the greenback.
The Swiss franc is a traditional safe-haven among currency investors. It has been surprising to see the USD rally against it in the aftermath of the Las Vegas mass shooting.
The key psyche level of .9800 is currently acting as topside resistance.
The 50% retracement of 2017's range is .9878.
The 38% level of 2017's range is .9770.
September's high of .9769 has brought mixed participation.
The last month has seen the USD/CHF grind higher from a low around .9450 to a high near .9800. From here, we are likely to see sideways trading between the .9800 level and .9770. This is a tight 30 pip range and one that is primed for rotation.
Until a hard range for today is established at close, trade management is mostly guesswork. Short-term scalps may be the play, or affordable positions may be taken. A position long from .9770 with a stop beneath today's intraday low is a good way to play a 1:1 R/R run back to .9800.
The best course of action is to re-evaluate before tomorrow's U.S. unemployment number is released. We may have a chance to buy a breakout above .9800 or sell the yearly 50% retracement on heavy participation.
Until then, trade smart and watch the risk management!


You're a die-hard New Orleans Saints fan and have an amazing selection of hats, but you're missing the one that you want to wear every time you head to the stadium. This New Orleans Saints Team Classic 39THIRTY flex hat from New Era is the one you've been looking for to show off that team pride wherever you go. While you're watching the New Orleans Saints dominate, you can rest easy in knowing you're the #1 fan around when you're wearing this cap.


text:
davidjrogersftw
Starting Life Fresh: Living to Win
Salesmanship for Artists and Writers: The Inner Skills
A goal always on an artist's and writer's mind is to generate consistently high-quality work, and a continuing question he/she wrestles with is "how can I do that?" Answering that question is bottom-line, and it's a complicated question that creative people are trying to answer all their careers, and is one whose success in answering distinguishes one from another. Shakespeare produced better text than anyone else; Michelangelo better art; Mozart better music. But creating high quality work is just one of a writer's or artist's skills among many others. It's naïve to think that the best artist is necessarily the most successful artist. To succeed, the writer, painter, actor, composer must accomplish much more than generate excellent work.
Professional artists and writers have careers to manage and responsibilities and expenses. Food must be put on the table. A life of financial risk and the threat of going broke can keep them on their toes and motivate them or it can be paralyzing. To many writers, artists, and performers, their work is not a hobby and is not just a craft and not just an art, but a hard-nosed, deadly serious, ferociously competitive war of survival requiring the skills of the showman and unabashed, unapologetic self-promoter. Those are roles that seem unnatural to many creative people and make them uneasy and unsure of themselves.
Inhibitions are hard to hide, and research and everyday experience alike bear out that many writers—many artists; many creators of all types, many "inner-directed" people in general—are haunted by them, and know better than anyone that they are, and don't want to be, and wish they weren't. And everyone on the globe—the most powerful, the most famous, the most accomplished–is inhibited sometimes. It will be impossible to reach your creative goals if your inhibitions are powerful. They are impediments that can prevent even the most talented and gifted writers and artists from achieving the successes they are aiming for. And that can happen, and I'm sure it does, more than we realize or care to admit.
Working in solitude—the lifestyle of the creator–is a way of hiding from inhibitions because inhibitions involve interactions with other people. In fact, one of the main reasons creative people have chosen a creator's life rather than a more typical life is to be able to work alone, secluded, sheltered, untouched, and away from other people; hidden from the world. But when writers and artists come out of hiding into the clear light of day, so to speak, some essential tasks require that they do something about their inhibitions—give in to them, or overcome them.
When my first major book was published, I was surprised to learn that not every author is sent by the publisher on a publicity tour to promote their book because they "don't come across" to audiences, and that, it seems to me, is a direct result of inhibitions. One publisher jokingly asked if I would go on tour to promote other of their author's books; so many writers didn't come across. Also, every writer and every artist of every type eventually realizes that talent and skill are not enough to guarantee success, though that would be the artist's ideal world, but that you'd better learn the skills of marketers and salesmen, skills that inhibited people do not perform well. But to survive, they must learn to. Or they may perish, giving up completely, or will go only so far, and will reach a plateau, and will not reach the career peak they otherwise could. All creative work involves showmanship and salesmanship.
When I was a business consultant for many corporations, I trained hundreds of people to be high-excelling marketers and sales people, and time and again witnessed before my eyes the growth of awkward and inhibited, tongue-tied, self-doubting people into fluent, persuasive, uninhibited people confident and comfortable with themselves. Such a transformation is possible for anyone. Every artist's and writer's skill, including marketing and selling—foreign though they may seem–is learnable.
After reading my Fighting to Win: Samurai Techniques for Your Work and Life, which lays out practical strategies for living a more vigorous assertive (and hopefully happier) life, a shy, soft-spoken, self-doubting artist/illustrator called me and said she wished she had a samurai like those she had seen in the book to help her market her work (which had won awards) to galleries, clients, magazines, and publishers, and I said, "You don't need another person. Become a samurai yourself." She took that to heart and acquired marketing and sales skills coupled with her new self-confidence, and now her lovely work seems to be everywhere.
The Basic Problem
People weighed down with inhibitions don't express their genuine personalities. That's the basic problem. Inhibitions such as shyness, self-consciousness, dreading new experiences, feelings of inferiority and inadequacy, guilt that's out of proportion to the event that caused it, feeling ill at ease with strangers and in social situations, difficulty getting along with others, and excessive modesty are psychological obstacles that affect writers, and artists of all kinds time and again. These "maladies" are based on being too concerned with how you're coming across, of what people are thinking of you, or trying too hard to impress others. Inhibitions result in excessive caution and carefulness.
Some people aren't inhibited enough. You probably know some. They're too impulsive, too rash, too inconsiderate, too outspoken, too hard-headed, too much of a boring windbag everyone wishes would shut up. But the more general and serious problem is being too inhibited.
Many specialists believe that some inhibitions are genetic. But it's a myth that once your genetic blueprint is established at birth it is set forever. I know a sculptor who was shy all her life, but decided at the age of thirty she wasn't going to be shy anymore, so she stopped being shy, just stopped. Many inherited traits can be changed by changing behavior.
Strategies for Conquering Inhibitions: Be Yourself; No One Else
Realize that inhibitions are not a fate. You can get rid of inhibitions.
Be indifferent to the reactions of others. There is such a thing as a healthy and liberating disregard for the opinions of others. Don't stop to think of how they are judging you. Don't worry what they'll think of you if you do or say X. Just do and say X. Don't give a damn what they think.
Don't exaggerate your embarrassment. Why are we so ready to say that this embarrassed me or that embarrassed me, even over the silliest things. When you're feeling embarrassed ask yourself if what is embarrassing is all that important in the grand scope of things. It isn't.
Overcome self-consciousness. Self-consciousness is really other-consciousness. To believe that every eye is on you is an error. Most people could hardly care less what you look like, what you're wearing, what you're saying, and what you're doing. They're preoccupied with what they look like, and what they're wearing, saying, and doing.
Never try for a contrived effect. You'll rarely go wrong if you're sincere. The people who make the best impression are the very people who aren't trying to make a good impression. You can't be fooled by a phony for very long. For example, job interviewers encounter legions of applicants who behave the same as everyone else. Then an applicant appears who lets his or her sincerity come through. She stands out and the interviewer is impressed, and she gets the job. If you're sincere you'll favorably impress people, even if you're not trying to impress them.
Be like a baby; be authentic. A baby isn't pretentious, artificial, or superficial, but just what he or she is. A baby expresses honest feelings and isn't the least bit inhibited.
Be more spontaneous. When you're anxious about a situation, your spontaneity flies out the window. When you're spontaneous–with a friend over a beer for example, or your family around the table–you're not on guard for fear of making a mistake. Your spontaneity gives you courage.
Be fast. Do what you're thinking of doing or saying before an inhibition appears.
Speak with greater verve, and louder than you normally would. Inhibited people often speak softly and in a monotone. Raising your voice and speaking in a louder and more energetic voice can free you from social inhibitions.
Look people in the eye. Don't avert your eyes.
Be "larger than life." You might have noticed that people who are self-confident and persuasive literally seem larger. Stand up straight and expand your chest as an exercise. Develop the habit of physical expansiveness.
When talking with others stand closer than you think you should, be physically involved, and be friendly. Particularly persuasive and socially comfortable people tend to stand a little closer than most people do. Gesture, smile, move your hands and your eyes. If you expect the other person to like you and you behave accordingly—as though they already do– you will be proven right in almost every instance.
Recognize your right to be imperfect. If we were perfect our lives would be very dull– we would be very dull– and we would still find something in ourselves to complain about. And others would always find something in us to complain about too. We shouldn't think we have to be perfect to be worthwhile.
Don't second-guess yourself. Inhibited people wonder if they did the right thing: "Maybe I shouldn't have said that. Maybe I hurt her feelings. I probably should have put it differently," when more than likely the person spoken to has no memory of what was said or didn't think it was all that significant.
Forgive yourself– for making a mistake, for being too timid, or for saying the wrong thing or making a stupid remark. Perhaps you felt awkward or were intimidated, or self-conscious, or were inauthentic and insincere, etc. Forgive yourself. Then get right back into action and be genuine, be yourself, no one else.
© 2015 David J. Rogers
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Filed under Artists, Blocks to Action, Boldness, Business Strategies and Tactics, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Goals and Purposes, Salesmanship, Success
Tagged as artists and writers, blocks, facing difficulties, fulfillment, goals, impediments, inner opponents, motivation, overcoming inhibitions, psychological obstacles, self-confidence, self-improvement, selling, sincerity, success, Writing
The Life Path of Artists and Writers
Who are you? Where are you going? Where have you been?
As a boy I realized that Socrates' advice that everyone in the Western world has heard at least five or six times–"Know thyself"–was no less difficult than to walk from my porch to the moon. But I know now that if we look carefully at where we have been, who we have known, what our life's events from the earliest days have meant to us, and where we are going, we can in fact satisfy Socrates and know ourselves. This is a goal that is particularly important to creative people because their work is an exact reflection of the remarkable men and women their lives have made them.
Your Ground Plan
It is a biological concept that applies very much to artists and artists' development: everything that grows—a rose, an eagle, a human being– has a life plan, a ground plan, and a life structure. All parts of this structure have a time to emerge that when complete form a unified identity, in our case, they come together to form the identity "artist," and more specifically a type of artist: novelist, violinist, classical pianist, jazz pianist, movie composer, stage actor, ballet dancer, modern dancer, etc. That ground plan leads either directly in a straight line or in a roundabout helter-skelter way to that identity, but lead to it, it does. There is an order to our past, present, and future lives, however disorderly and unconnected they may seem.
Frank Lloyd Wright, America's most renowned architect, knew from his earliest days that he would be an architect. When he was a child his mother told him he would, considering architecture man's crowning achievement, and began to mold him to that art by placing illustrations of architectural masterpieces on his bedroom walls and encouraging him. And prodigies, Mozart, dancer Vaslav Nijinsky, Broadway composers Marvin Hamlisch and George Gershwin, and trumpeter Miles Davis among innumerable other artists followed a "neat and tidy" development, and knew as children precisely what their adult life's pursuit would be. There could be no doubt. Novelist Henry James and his philosopher/psychologist brother William were raised with one objective in mind: to make them creative geniuses, and that's what they became.
However, many successful artist's ground plans follow a less neat and tidy, "messy," meandering path, as in the cases of painters Vincent van Gogh (failed teacher, failed preacher, failed everything who yearned to find his true calling—and did at thirty-three when he was told he was starting too late), and Paul Gauguin (former affluent stock broker who abandoned his family to paint), and novelists Sherwood Anderson (successful business owner who also abandoned his business and family to write),Joseph Conrad (sea captain), and Henry Miller (telegraph office worker), and playwright Eugene O' Neill (ship's deck hand, grave digger, and aimless ne'r-do-well). The meandering path is typical of many artists as they experience hits and misses, successes and failures, victories and defeats, false starts and detours over and over. Straight or roundabout, tidy or messy, the artist's ground plan is in effect and leads to his/ her being an artist and being recognized as such. There is not one best way to become a successful artist—writer—performer, etc. But there are any number of perfectly fine ways.
Has your creative ground plan been tidy or has it been messy?
La Grande Ligne
Out of the mass of experiences of his life, the artist (1) must somehow or other settle on an art and way of life that fits him; (2) must have the personal makeup necessary to excel in the art; must possess the (3) knowledge, (4) drive and persistence, (5) confidence and (6) complement of skills necessary to excel, and must (7) further develop strengths along certain clear lines.
La grande ligne ("the long line") is a term in music that means simply that every good piece of music gives the audience a sense of flow, of continuity from the first note to the last. That continuity and flow is the challenge and be-all and end-all of every composer's existence. Every artist's life—every painter, writer, actor, dancer–whatever his/her chosen art, has a grande ligne, a flow from beginning to end. All of the artist's choices and goals should be understood as relating to their ground plan, whether the artist is or isn't aware of that fact.
A number of components must come into alignment to result in a unity of direction and purpose of a person's life, and certain steps must be followed. The components making a business woman are different from the components that work together to make a diplomat or a baker. Artists have alignments of components of a certain characteristic type–many personal qualities, interests, motivations, values, abilities, experiences, and other components. If just one component is missing, you no longer have a painter, sculptor, writer, or dancer. Everything must be present.
Life History Process
A way to acquire a clear view of your life's "long line" is to come to understand: yourself as you are at this moment; the relationship between the person you are now and the days and years of your past life; how you conceive of your whole life; what happened in your life—what events meant to you and what they mean to you now. And to answer the question, "What am I trying to do as a human being, and as a creative person?"
Divide your life into periods, such as:
++++ Birth-15 years
++++ 15-25
++++ 65-
Recall key EPISODES from those periods, period by period—"When I was six this happened to me. It was very important because it introduced me to music…" "At twenty-three I had a gig at a local bar and met an agent at a party…" "At thirty I started to dabble with bright colors…" Very often an episode occurs when the artist's existence seems to be organized and focused toward the art and he has a premonition that from that point forward the art will be prominent in his life. Your entire life is a drama composed of the total number of significant episodes. Looked at closely and objectively, they reveal larger plots and themes. Right now, even without much thought, what particularly meaningful episodes come quickly to mind?
++++ Episode 1
Methods that can be used to help you recall key episodes include discussions with relatives and friends, looking at report cards, documents, and records, and at your products—stories, drawings, compositions, paintings, performances. Photo-history is a method that involves looking at photographs to stimulate your memory. Assemble photographs from your life. Put the photos in chronological order; look at one at a time; ask about the photos—when was it, where was I, who are those people, what was happening?
Looking closely at individual episodes, ask: "What was I trying to do?" "Who was I?" "What was I learning?" "How was I changing?" "Was something leading me in the direction of my future work—an experience, a teacher, a success, a failure?" How did everything contribute to your becoming who you are? When did your artist's, writer's, or actor's ground plan start taking shape? How did it begin? Through what ups and downs did it lead you then?
You may wish to write an autobiographical narrative about important episodes as I do with my "Growing Up" stories—direct statements of what happened when. When you do, memories buried deep in your mind will come flooding back, and you will remember what was happening and how you were feeling. Memories—particularly of childhood–are a main source of a creator's inspiration. Author Thomas Wolfe's ambition was to describe everything he had ever experienced. Author John Updike said that nothing that happens to you after the age of twenty is worth writing about. Personal motifs begun earlier in life stay with the artist throughout life and are reflected again and again in everything he or she produces. These themes cannot be avoided; they are the artist's DNA. Artists accumulate experiences, people, places, key episodes, and ideas which they will draw on the rest of their lives, endlessly recapitulating them in their work. He/she never forgets them. These are the origins—and the content– of their craft.
When reflecting on episodes think about:
++++ Your characteristics; your personality at the time
++++ Your abilities
++++ Your needs
++++ Your ambitions and dreams
Look at the episodes for times in your life of shifts and changes of direction—crises, periods of trouble and distress, great pleasure, and achievements. Look for the choices you made and how you dealt with their consequences. What did the choices mean to your life?
Sift through episodes for MAJOR THEMES. Your life has been a route of recurring themes, like those in a musical composition or a novel. For author Ernest Hemingway the themes of danger, of war, of adventure. Chagall's Hasidism. Themes help explain many events in a person's life and show continuity. Themes are groups of episodes that fall into a type.
What do you think right now, without much reflection, are your significant life's themes?
My major themes are childhood, family, the place where I grew up, growing in understanding.
++++ Theme 1
Bearing the major themes you've found in mind, ask yourself:
"Where do I seem to be headed? Where does it appear my grande ligne will lead me now?"
"What have I learned about myself from reflecting on my life and my artistic career?"
"What more do I want out of my painting, my dancing, my writing, my acting? What more can I give to it?
"Where do I want to be headed from this day on?"
Filed under Artists, Becoming an Artist, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Goals and Purposes, Life History Study, Success, Writers
Tagged as artists and writers, Creativity, fulfillment, goals, La grande ligne, life history, life path, Marvin Hamlisch, memories, motivation, painters, purpose, self-confidence, self-improvement, success, talent development, Writing
Boredom and Burnout: What To Do When Artistic Work Stops Being Fun
During World War II prisoners of war often contracted "barbed wire disease." It was not the result of maltreatment, but of lack of stimulation. Ships' crews, explorers, and people in monasteries contract it too. It is characterized by irritability, restlessness, pessimism, and boredom. Nothing excites them. They lack vitality, freshness, energy, and verve. Writers and artists—often those working on a project steadily for a long time, especially without feedback—may develop a form of barbed wire disease.
They go flat and their work becomes a burden and its quality suffers grievously. When work is drudgery creativity quickly declines. You've experienced that, sometimes for considerable periods of time, and sometimes to the extent that you don't want to face the work and so you avoid it, entering a stage of total non-productivity about which you feel miserable. No two ways about it, you've now come eye to eye with a major obstacle.
I'm sure I am not the only serious writer who after working steadily and intensely for a long time writing, writing, writing, writing experiences a "word nausea" when you become sick of the sight of written words. For a time you cannot write; nor can you tolerate reading another word. When you're experiencing a writer's or painters barbed wire disease, you can always imagine a more exciting place to be, a more exciting thing to be doing, and exciting people to be doing it with. Sometimes the disease spreads and everything turns gray and seems boring beyond belief. When you've burned out and bored you "kill time," hoping the barbed wire disease will blessedly pass.
If your interest starts to decline make the "boring" task a game. In my first writing job I wrote grant proposals for an organization. I wrote many, many of them. At the beginning, the proposals were quite long and the success rate quite high. Millions of dollars were raised. Writing grant proposals every day from 8:30 to 5:00 is a ritual that is not nearly as stimulating as writing a poem or novel, as you can imagine. They are dry, and after a number of them you burn out. I needed a more interesting, more challenging goal. So then my goal became to raise the level of funds the organization received as a result of my proposals relative to the length of the proposal—to write the shortest possible proposals for the most money. Eventually the proposals were extremely short, but just as successful.
How could you make your work a game, a contest? One way is to monitor your daily production and make the aim of the game to produce more every day compared to the previous days. Every hour I monitor the number of words I'm producing and look at yesterday's tallies.
Focus continually on your overall goal. Success in life is often built on tedium. Tedium can be tolerated if it must be endured to achieve a larger purpose that matters a great deal to you–to write a good book, to have your work in galleries, to be satisfied and successful. The French Pointillist painter Georges Seurat was certainly bored some of the time–perhaps most of the time—when for two years he applied those almost three and a half million tiny dots of various hues to a ten foot wide canvas to paint Sunday Afternoon on the Island of La Grande Jatte, the painting that altered modern art and introduced Neo-impressionism. But that was his purpose, and his boredom was irrelevant to him.
Choose to do what you're doing. Boredom is often caused by the sense that you're being forced. But when you declare your right to make a decisive choice and say to yourself, "I'm choosing to do this of my own free will," your outlook changes dramatically.
Focus on external rewards. When you're bored, the work has lost its intrinsic value to you so think of other rewards: "I may not be happy with the work but I'm going to make a lot of money, and maybe I'll win an award."
Have the intention of doing just what you're doing, nothing else—no distractions, no impediments, no worries, fears, or self-doubts. Just you and the work. Boredom is caused by the wish that there were something else you were doing: "I wish I were…" at a movie, or making love, or sitting in the bleachers. Make what you're doing the single thing at that time you have every intention of doing. You don't change the task. You change your attitude. You can mesmerize yourself with the thought, "This, now, right now, is the one thing in the world I want to do. Nothing could be better."
Look for something of interest in the work and in the process of working–even if you have to look hard. There is always at least a tiny core worthy of your interest in everything, like the eye of a violet. What is boring for your friend may be the most exciting thing in the world for you. That's because nothing is intrinsically boring. Physicists and mathematicians love spending their lives scribbling figures on chalkboards. Would you like to spend your best hours doing that? But people do. And then again many people would find what you love doing—producing artistic work as often as you can—about as unpleasant an activity as they can imagine.
If you tell yourself something is boring that's just how you'll find it, so never use that word or any such word. Eliminate them from your vocabulary starting now. Our emotions follow what we're thinking, including boredom. Instead of, "Oh, man, I can't stand this anymore," think, "To say I can't stand it is incorrect. It's an exaggeration. I can stand it. I will stand it." Instead of, "Damn, is this tedious" replace it with an interest-inducing statement: "There is something stimulating here. All I have to do is stay focused long enough to find it. Look—there's something interesting!" By focusing and absorbing yourself in something, it becomes more interesting. And the more interesting it becomes the more you'll be drawn to it, the more attention you'll want to give to it, and the more engrossing it will become.
The famous naturalist Louis Agassiz was known for turning out students with incredible powers of observation. Many of them went on to become eminent in the field. A new student appeared and asked Agassiz to teach him. Agassiz took a fish from a jar of preservative and said, "Observe this fish carefully and when I return be ready to report to me what you noticed."
Left alone, the student sat down to look at the fish. It was a fish like any other fish. There was nothing special about it. The student finished looking and sat waiting, but no teacher. Hours passed and the student grew restless. He asked himself why he had hooked up with an old man who was obviously behind the times.
Bored and with nothing else to do, he counted the fish's scales, then the spines of the fins, then drew a picture of it. In doing so he noticed it had no eyelids. He continued drawing and noticed other features that had escaped him. And he learned that a fish is interesting if you really see it.
Persevere longer with whatever bores you. The person who holds uninteresting ideas in mind until they gather interest will succeed. Many people give up too quickly.
Wait. The sense of boredom may go away on its own without you doing a thing.
Tackle the most interesting part of the job first. Most tasks have features that you find boring and others that you find more interesting. Bodybuilders often start their workouts with lifts they enjoy most. Once started, they go on to the lifts they enjoy less. Try to do the same whatever you're lifting.
Aim for more difficult goals. If the goals you're pursuing are too easy, you'll be bored.
Alter your routines. Sometimes it's not the tasks that are boring, but the routine of carrying them out. Change your schedule. People need change or they go as stale as old cookies. Much of the time our lives grow stagnant, unhappy, and mechanical for no other reason than that the same things are done in the same way, at the same time, with the same people with no variation, like a broken CD that plays the same phrase over and over. It's torture. How many times can you follow the same never-changing routines without going nuts?
Stay physically active. Hit golf balls or get down on the floor and do pushups. Creative work requires intense, exhausting mental concentration and benefits from a "physical" break.
Take periodic breaks. Working hard in short, intense, concentrated spurts, with rest periods between spurts proves to be the best way to work.
Let your mind wander. Don't resist. During boredom our minds wander and we daydream, and daydreaming and mind-wandering often lead to the solutions to our problems.
Get yourself temporarily to another project. Most artists have more than one project going on simultaneously—some have many. If one becomes boring, they work on another. Painters work on small paintings as a break from large paintings. Writers alternate research and writing and write short stories to break the monotony of long, uninterrupted work on a novel.
Eliminate what you find boring. Let's say you've tried everything your inventive mind can conjure up and you're so bored you can hardly breathe. If you're that bored and that burned-out maybe you shouldn't do it anymore. Maybe the boredom is a message telling you the book or the sculpture isn't a good idea after all and you should go on to another. Identify the specific activities that bore you and are burning you out and slice them off like shavings off a stick.
Filed under Artists, Blocks to Action, Creativity Self-Improvement, Goals and Purposes, Motivation, Success, Writers
Tagged as blocks, boredom, burnout, Creativity, energy, fulfillment, goals, impediments, inner opponents, motivation, painters, psychological obstacles, purpose, self-improvement, strategies, success, Writing
15 Strategies for Breaking the Bad Habit of Avoiding Work or Quitting Too Soon January 7, 2020
Pursuit of Perfection in the Arts December 10, 2019
Guidance for Reaching Success and Fulfillment in the Arts October 25, 2019
Why Artists and Writers Are So Self-Absorbed August 2, 2019
How Innovators Transform Art June 21, 2019
Drive and Motivation: The Creative's Urge to Produce Works of Art May 14, 2019
Reward Yourself: A Secret of Self-Motivation April 10, 2019
The Lives of Talented Creatives March 14, 2019
David J. Rogers
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Blog Posts - Brink's Fine Arts
Sand-dusted mugs, lava stone lamps, and hand-knotted carpets adorned with subtle motifs —everything about the Downtown Design Dubai exhibition exudes elegant simplicity.
But transporting these delicate, limited edition items is anything but simple. From packing to shipping, customs declarations, taxation, delivery, unloading, and installing, there are many stages to global art logistics.
"Nightmares can happen," said David Muggli, Global Head of Brink's Fine Art Services, Brink's Fine Art Services. "We are there to prevent them."
About Downtown Design Dubai
In November 2018, over 175 contemporary international design brands and 40 regional designers presented their designs at the Downtown Design Dubai fair, the largest-ever curation of Middle Eastern talent and a dazzling showcase of contemporary international design brands.
Brink's Fine Art Services has been the official logistics partner for Downtown Design Dubai for several years. This long-term partnership has been built on Brink's Fine Art Services' ability to deliver excellence while meeting the evolving needs of the client.
"The fair has grown about 20 to 30 percent year-on-year, and we are growing with it," said Muggli. "We are an instrumental part of them being able to grow in this way, managing logistics around the event so organizers and exhibitors can focus on their business—presenting, selling and organizing the event so that it is a fantastic experience for visitors."
More than door-to-door delivery
The design and art world have specific transport requirements, and there is an expertise to handling fragile objects when in transit.
For the Brink's Fine Art Services team, transporting these valuable and often fragile pieces of high-end design is more than delivering the box to the door – it's about making sure that thousands of objects arrive at the venue on time and undamaged, and return to their respective owner in the same condition.
Brink's Fine Art Services supports international exhibitors at the fair at every stage, from answering questions about shipments and taxation on sales to guiding them and their products through customs and regulations.
Shipments are handled from around the world, by all modes of transport—air, land and sea. When the shipments arrived, they helped clear them through customs, handled the packages through Brink's Fine Art storage facilities and delivered them safely to the exhibition spaces.
"From door to door and nail to nail, we handle all of the background work; we provide peace of mind for our customers," said David.
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The vast 26,000-square-foot industry-leading warehouse covers all bases with a central location, state-of-the-art technology and security, as well as a team of art handlers that uphold industry leading standards.
Brink's Fine Art Services Unveils Largest Art Storage Facility in Middle East
Investing in new, state-of-the-art equipment and technologies is part of Brink's Fine Art Services' mission to drive forward innovation while consistently delivering unparalleled service and infrastructure to its customers.
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By utilizing the latest security technologies, including CCTV cameras, access control, and alarm monitoring, we provide 24/7 security for your most valuable assets.