Vui Mark Gosche (62) has been a union leader, a cabinet minister in Helen Clark's government (with portfolios in corrections, housing, transport and Pacific Island Affairs), a caregiver for his wife, and a Pasifika voice for a number of organisations. Now he's stepped into one of the hotspots in the health world, as the new chairman of the Counties-Manukau District Health Board. Here he tells Dale about his background.
Kia ora and talofa lava, Mark. It's not unusual for Sāmoan families to carry the surname of a German grandfather or great-grandfather. And I guess that's the case with you.
Yes. My dad's father was Anton Ludwig Gosche, who, so we understand, came from Hamburg. But he's been a bit of a mystery man for our family. What we do know, though, is that, when he was 57, in Sāmoa, he married my grandmother Ferila, who was 25.
And my dad, Kristian Johann Gosche, was one of their children. He once told me that he stowed away a couple of times to check out New Zealand — and then he came here around 1951-52 and married my mum, Berys, who's Pālagi.
So we have a German, Sāmoan, and English ancestry. Through my younger years, few people would've seen me as Sāmoan because I don't look it — and my name, Mark James Gosche, doesn't identify me as Sāmoan either.
I imagine that your surname, over the years, has been mangled — with people pronouncing it as Goshay or Gosh-ee. Or just plain Gosh. What should we be saying?
We grew up being called all sorts of things. We say Gosh-ee, which may not be the correct German pronunciation, but it's the one we stick with.
Back in the 1950s or '60s, it wasn't common for Pālagi to marry Pacific Islanders. So I wouldn't be surprised if there'd been some eyebrows raised when your mum took a shine to your old man.
Absolutely. When Dad came here more than 60 years ago, the census suggested that about 2,500 Pasifika people were living in New Zealand at that time. So it was pretty unusual for Pālagi to be mixing with Sāmoan or any other PI people. And then for Mum to marry one clearly was a major step.
I understand that her family was a bit taken aback. But they grew to love my dad, who was a charming, lovely, generous person, so he fitted into my mum's family extraordinarily well.
Mum had an interesting background, too, because she was born in Otāhuhu and was brought up by her mother (Irene Brown). My grandfather left the marriage early in the piece.
So Mum and her sister, Avis, were brought up by my grandmother who worked in the Hellaby's cannery in Otāhuhu. There was no Domestic Purposes Benefit in those days, so they had a really tough life. There was no government support for single parents, and the Anglican Church very kindly threw her out for being divorced, even though that wasn't her fault.
Mum left school (Otāhuhu College) when she 14. All the schools were closed during the polio epidemic in 1948, and, by the time they reopened, she was already working at Turners and Growers. My dad had his challenges, too, because he couldn't read and write. He grew up learning to be a baker back in Sāmoa.
Their attitude, when us kids came along, was typical of migrant people. They'd missed out on a good education so they were determined that education would be the pathway for their children — and a lot of pressure was put on us to go to university and become a doctor or a lawyer or an accountant. I disappointed them in that respect.
So my background, my family history, is one deeply rooted in South Auckland and in the working-class environment that we were born into.
You've been prominent in union work through the course of your career, Mark. But I suppose that's not surprising seeing that there was hardship and struggle for both your parents to see that you kids had much better prospects.
Yes. They really wanted the best for us, to the point where Dad always worked at two jobs. He was a baker and he was also a bouncer at The Star Hotel in Otāhuhu or some similar job as well. The Star was one of the roughest pubs in South Auckland, but he could handle a job like that because he was a champion boxer.
In those days, when we were growing up, we did connect a lot with our Sāmoan family. It was just natural to visit and eat with our aunties, uncles, and cousins, so we grew up knowing we were Sāmoan. But I didn't give much thought to it. I didn't really know our culture or our language because Dad didn't believe that learning Sāmoan was important. He just wanted us to succeed in the Pālagi world.
And he couldn't see that happening if we were brought up in the Sāmoan culture. So he largely rejected fa'a-Sāmoa. Looking back now, I'm saddened by that, but I understand why he and his generation thought that way.
Can you flesh that out a little more?
Well, he had a really hard life in Sāmoa. His mum was very young when he was born — and his dad had already died two months before. So he was brought up by his sister and his brother, who were both quite a bit older than him. In fact, his sister Margarethe (Maggie) was married to a Danish baker (Jens Andersen). So Dad was working in the bakery at a very young age.
Can you imagine being a baker in a corrugated-iron bakery in Savai'i? The temperature can be hard enough, but then being in a bakery would've been twice as hard. So you can understand why he wanted to get away from Sāmoa — especially to a place where he could see a chance of succeeding in a Pālagi world.
I worked alongside my dad in the Otāhuhu bakery, through my younger years at school. I also worked in the Westfield freezing works where he'd worked, and I could see for myself that it was a hard lifestyle. Then there were the railway workshops and the breweries. There were lots of jobs in South Auckland where plenty of my schoolmates could make big money without needing an education. But I didn't take that option.
We shifted to Papatoetoe when I was four, and we did all our schooling there. I went to Papatoetoe High.
There were seven of us who grew up together in Papatoetoe. Dad had three children in Sāmoa before he came to New Zealand, and he brought my sister Salamasina with him. Then he married my mother and they had six children. I was the second of them.
Mark and siblings. Back row (from left): Carol, Mark, Peter, and Salamasina. Front: Joanne, Tony, Roslyn.
Your parents would be very proud of you now, Mark. Are you lucky enough to still have them with you?
My mum, at 85, is still alive, but my dad passed away in 2002. They were always very proud of my work, although my dad never quite understood it. Mum really supported me no matter what, and of course, my dad did too, although he wasn't thrilled by the union stuff.
He wasn't enamoured with the way the unions had operated in his day. He thought that union officials were pretty useless and lazy — and he told me that when I got a union job.
Actually, in my first year out of school, I became a cadet journalist in Otāhuhu, at the South Auckland Courier. But that lasted only a year, partly because there weren't great opportunities in journalism, but mostly because I didn't like just reporting on life. I wanted to be part of it.
And, in my next job, in the freezers at Tip Top, I became a union delegate for the workforce there. I was still only 18 and that was the beginning of my union journey. I could see how poorly those workers were being treated and paid — and I could also see that, by coming together as a collective, you could actually do something about it.
That was a turning point in my life because I saw how collective action by working people could challenge the power of those employers who didn't care too much about health and safety and weren't keen on paying you the money you deserved — especially for jobs that were demanding and dangerous.
And it's been important work, too. Mark, you mentioned that your dad was a champion boxer. What title did he hold?
He was the light heavyweight champion of Auckland. He did go to the New Zealand championships once, but Mum says he got homesick and came back home — before he'd had a single fight. But he wasn't ever beaten. He trained at the Cammick's gym in Otāhuhu.
He'd already earned respect and a reputation because, when he first came to the freezing works, he did some damage. He didn't speak any English in those days. So apparently, if somebody laughed at him, he hit them. And later, when he was working as a bouncer at the Star Hotel, which was a notoriously tough pub, he obviously could look after himself because I never saw a mark on him.
At the Star Hotel, you had guys coming in from the steelworks, from the railway workshops, from the freezing works — and they used to have some good old ding dongs back in the day. You weren't tempted to get into the ring yourself?
At the other end of our street, near Middlemore Hospital, was the Leulua'i family who're well known in the rugby league world. We used to do a little bit of boxing in their garage and a few whacks from some of those boys was more than enough to turn me off that as a sport. Our sporting life was rugby league. I played for Papatoetoe.
Let's turn to politics where you spent 15 fairly intense years. What prompted you to go in that direction?
I did 15 years in the union movement for (what became) the Service and Food Workers' Union — although it has now morphed into E tū. It was a Labour-affiliated union, so I was always part of the Labour Party and that's how I cut my teeth in the political world.
But, even before I became a union official, I was involved in the anti-apartheid and the anti-nuclear movements. When I was at Auckland University (studying English) and teachers' college, I became president of the student association. We were up against Muldoon at the time and we even organised a strike of student teachers because Muldoon wouldn't increase our student allowances.
So politics, for me, was part of the scene in those days. Opposing the nuclear ships coming here. Protesting against the South African softball team who were playing at Papakura at the world championships. And, of course, doing lots of stuff in 1981 during the Springbok tour.
My move into the union scene came through my sister Salamasina who was a cleaner at Greenlane Hospital. She'd been offered a job as the union organizer, but she told them to approach me instead. Which they did, and there I was representing the cleaners and orderlies, up against the political system that didn't treat those workers at all well.
So I did 15 years as a union official, including being our union leader. But then, after years of hard grind there, it seemed like a logical move to go into parliament where you could effect change at a higher level and on a greater scale. So that's what I did.
Has there been anyone in particular who's been your guiding light through those union or political years?
We were big on going to church when we were kids, so that Christian ethos has been a fundamental part of who I am, even though I haven't been to church since I was 15. Organised religion really let our family down, so I didn't want a bar of it. But I've always considered myself to be a Christian in terms of my fundamental beliefs and values.
I've also worked with some amazing characters who were much older than me when I became the secretary of the Northern Hotel Hospital and Restaurant Workers' Union, as it was then known. My colleagues and my peers were the leaders of the other unions — like Bill Andersen, Ken Douglas, Frank Barnard, and Mike Sweeney. I learned a lot from them, and from Pat Kelly, who had all the skills of a wily negotiator.
Then there were these wonderful women who were the rank and file workers in that union. Like Liz Lee-Lo and Fili Fiu, Cheryl McLean and Ida Tiria-Stewart, a Māori leader of our union. They encouraged me to use my skills as a talker and a negotiator.
They told me I could inspire others, but, really, it was those women who were my inspirations because they were true working-class heroes. They did the hard graft of cleaning hospitals and cooking, but also were leaders because they could gather workers around them to support the cause.
Yes, I did learn from some good old hard-headed trade unionists, but my real learning came from the workplace level — in particular from the Māori and Pasifika women who were amazingly strong and resilient and brave. But they were also great at nurturing me to accept my Sāmoanness and to take on the leadership roles when that was needed.
I'm pleased that you mentioned rank and file people. It's true that inspiration comes in many forms — and hardworking people with strong morals and ethics can be an important source. So thanks for that.
When you had a crack at politics, you must've had some second thoughts because, if you want to be an MP, you can't afford to carry on being humble and reserved. You've gotta put yourself on stage and, in effect, say: "I'm the man." You have to put your billboards up all around town — and go full bore at self-promotion. How did you come to terms with all that?
The other main motivator was my wife, Carol. Without this rock solid person, I would never have done anything near what I've done — and never been able to sustain myself as a person. We met when she was 16 and I was 18, and so we grew together both in a personal and a political sense.
She was the backroom brains while I was a sort of frontman, even though I'm a natural introvert. Having somebody like that walking alongside you, always being there and having your back, is what enables you to do much of that political stuff.
And you do that stuff, like putting your face and personality out there, not for the sake of doing that but for what the job then allows you to achieve.
For me, going into politics was always a matter of being able to do something, not just being someone. To make change and improve life and do things for the community where I grew up.
When you look back on your 12 years of parliamentary work, what's given you the most satisfaction?
There were some big things, like, as the Minister of Housing, increasing Housing New Zealand's stock — and bringing back income-related rents, which helped lift a lot of people out of poverty.
I remembered watching people, after a long day's work, walking from Auckland Hospital to Symonds Street and then having to wait for ages to catch their bus all the way back out to South Auckland. We had a hopeless public transport system then. So, in my first year as Minister of Transport, being able to double the public transport subsidy was probably more important than some of the big road projects we did. There was real satisfaction in being able to make decisions that benefitted people at the bottom of the heap.
Also, I think back to my lack of Pacific language and the satisfaction then from working with Trevor Mallard to build early childhood centres that allowed young kids to learn their own language, like Sāmoan, Tongan, Cook Island Māori or whatever. It was doing something worthwhile for the next generation.
Another valuable thing was providing support for our Pacific radio stations so that, without having to spend a lot of money, our voices, our music, and our stories could be on air. Moves like that have had long-term benefits for our Pasifika community.
Not all was going smoothly for your family, though, in the course of your parliamentary work. You've had your fair share of personal tragedy, haven't you?
More than a fair share I sometimes think. Occasionally, I look back and wonder, what's this all about? Yes, in May 2002, Carol had a severe brain hemorrhage, which is usually fatal. Goodness knows how she survived. Mostly willpower and faith, I suppose. Six weeks before that, my father had died.
We got through those initial months. I was still in Cabinet and then I went through the election campaign, in July, and I stayed in Cabinet for another year. But it just got too difficult because Carol's brain injury was so severe. It was touch and go for a long time whether she'd live.
So I stepped back and became a backbench MP, although I also chaired a select committee for five years. But the tragedies didn't end, because my son Kristian then committed suicide in 2007. That really was the tipping point. Should I remain in politics? The answer was clearly "no", because we had other children, and grandchildren coming along, too.
We sometimes wonder why this has happened to our family, but of course there's no answer to that. You just have to try and cope — and get on with life. I can't pretend that it hasn't been a problem because it builds up over the years and you can end up being quite fragile yourself. I've been through tough times, in the past couple of years in particular, and I've got through, thanks to amazing support from the family, and from the people I work for and work with.
One advantage, though, has been that it's made me much better equipped to do the health work that I do now because I understand, through my own experience, just how tough disabilities and mental health problems can be on families.
Mark at his saofa'i in Lano, Savai'i, in 2007, with his children, Jessica, Jacob and the late Kristian.
Aroha to you and your whānau, Mark. Now let's focus for a moment on a quite different aspect of your whānau. That's the occasion when you went to Lano, your nana's village in Sāmoa, and you were bestowed with the matai title of Vui. Would you, fa'amolemole, tell us about that?
That was the most extraordinary day for me, going into a cultural setting where I felt totally ill-equipped through not speaking the language and not really being sure what was going on. Lano is the village of my grandmother and it's where my dad was born. It's where my German grandfather ran his little business, and we still have some family in the area.
For many years, my extended family here in New Zealand wanted me to accept a matai title, but I just didn't feel that I was ready for it. Nor did I think that it was appropriate because I believed that matai titles belong in Sāmoa. But there comes a time when your uncles and your aunties are saying you've gotta do this and you can't say no anymore. So you accept it.
And we had a wonderful journey with 30 or 40 of my immediate family, our children, my brothers and sisters and their children — some who'd never set foot in Sāmoa before. Some of them, from Australia. And we went through this wonderful experience, which we were fortunate to have captured by Tagata Pasifika, so there's a lot of film footage of it.
The ceremony was a proud occasion for us, although I realised that it was to some degree a turning back from Dad's position where he'd refused a matai title and said he didn't want a bar of it. But, towards the end of his life, his love of Sāmoa returned and he became quite sentimental about the country and his people. And he spent much more time going back to Sāmoa, so I know he would've been extraordinarily proud that his son was being honoured in this way.
Our visit was also a return to our roots for the whole family. And we relived it a couple of years after that by going back just for a holiday with all these young ones in our family who hadn't seen themselves as being Sāmoan, particularly the ones from Australia.
And I've now seen quite a few of my young nephews and nieces and my own children going back to Sāmoa more comfortably, to reconnect and build those relationships that wouldn't have happened if I hadn't taken this matai title.
Back here, in the 10 years since you left parliament, you've worked on a good many Pacific kaupapa. Vaka Tautua for instance. Fonua Ola as well. And I imagine that's felt really rewarding.
It's been enormously satisfying because, when you leave parliament, you're never going to replicate the things that you can do there. Your work comes down in scale, even though it's still important in the community. So I've relished the opportunity to be the Pacific rep in this, that or the other organisation.
But I'm definitely encouraging organisations to grab the young ones and put the next generation into those positions. And, fortunately, people are taking that on board and I'm seeing young Pasifika men and women taking their first steps in management and governance — and even sitting around the Cabinet table.
So my position is that now I can take a back seat and work behind the scenes to help other people do the kind of work I've done ever since I started in the union movement 40 years ago. I never stop getting a buzz from that.
Mark and Carol and 'āiga, including seven grandchildren.
Isn't it amazing that a kid from Papatoetoe now runs the Counties Manukau DHB? Middlemore Hospital being just around the corner, it's been a familiar landmark in our lives. I guess it doesn't escape you, the irony of moving from the chain at the freezing works to running probably the country's biggest district health board. What are some of your observations here, and priorities?
When I had my pōwhiri, I said: "Here's a riddle. Who was the first employee of the Ōtara Spinal Unit?" And they all looked at me quizzically, and I said: "It was me." I was the first employee there. I was a groundsman — I got employed as one of a team of three to do the gardens and lawns and get everything ready before they shifted in.
Now I'm chairing the board that oversees the running of that place, and it reminds me that you've gotta remain humble because the whole system falls apart if somebody isn't cleaning the hospital, if somebody's not sweeping the grounds and mowing the lawns and making the infrastructure tick over.
We've got a health system stretched to capacity trying to cope with a growing demand that's driven by population growth and by deeply rooted poverty.
So what I want to achieve as one cog in the wheel at Counties Manukau DHB is to ensure that people there have access to the same level of health service and quality as the rest of the country, because at the moment the system is so stretched that they don't have outcomes that are equal to the rest of the population.
My goal is to see that health inequality disappears out of Counties Manukau DHB, so that we're as healthy as anybody else, and our life expectancy is the same as anybody else.
And they're long-term goals obviously, but if you don't have those targets, then you're going to always fall short. And the health system can't do that on its own, so it's gotta connect really well with housing. It's gotta connect with social services. More importantly, it's gotta connect with the people in the community who know what they're doing and can make a difference.
There are people out there tackling obesity who get our community out exercising and eating properly and doing all the things they know they have to do to tackle that terrible problem that leads to diabetes and heart disease.
And those people are quite often doing it for nothing. They're doing it from the goodness of their heart or with very skinny resources. So that's gotta be a focus.
I'm not downplaying the hospitals and the doctors and the nurses, but what's missing to me still is that early intervention-prevention stuff at the community level, which can be delivered by all sorts of people if they're encouraged and given the resources and are brought together to work collectively.
So that whole thing about collective action that I learned back in my days in the freezers at Tip Top is still something that drives me and guides me in the work that I'm going to do at the DHB.
NextNgahiwi Tomoana: Get out of the way. We're coming through.
Malo Faafetai Vui. Malo le tautua matavela. Ua malie mata e vaai, malie taliga e faalogo. Faamanuia le Atua i oe ma le aiga.


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Coordinators: Prof. Fabio Dall'Olio, Dr. Mariella Chiricolo and Dr. Nadia Malagolini.
Glycosylation is one of the most important postransductional modifications of proteins, which contributes to the regulation of many cellular and molecular interactions. This group investigates the alteration of glycosylation associated with colon and bladder cancer, as well as during apoptosis and in aging. Research in cancer utilizes both clinical specimens and experimental models in which the glycosylation machinery has been genetically manipulated. Reaserch in the field of apoptosis is aimed at the identification of the glycosylation changes associated with apoptosis and to the comprehension of their functional impact. Research on aging is aimed at the identification of the changes of glycosylation of serum proteins, associated with both calendar and biological aging.


Construction on infrastructure work and widening of the Fujairah - Qidfa Road will begin early next year.
Plans have been adopted to expand three lanes, and construct tunnels and bridges on the Fujairah - Qidfa Road.
Plans were approved according to directives issues by H.H. Sheikh Hamad bin Mohammed Al Sharqi, Supreme Council Member and Ruler of Fujairah, reported state news agency, WAM.
Brigadier Mohammed Ahmed bin Ghanim Al Kaabi, general commander of Fujairah police, said that a company has been assigned to implement the project.
He also said that construction work will start early next year and will be completed over two years.
He said that the Fujairah ruler was briefed earlier about traffic congestion on the road and the expansion plans to ease traffic.
Al Kaabi added that Sheikh Hamad approved the plans and issued instructions in this respect.


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S.N.R.B.: c.a.a.a.
The Special Needs Resource Base (SNRB)
Richard Price – Richard.Price@abersychanschool.co.uk
Abersychan Special Needs Resource Base (SNRB) is the only secondary SNRB in Torfaen. This year we have 30 pupils; some with a Statement of Special Educational Needs (SEN). Most pupils have Moderate Learning Difficulties (MLD) and associated emotional, behavioural, physical and medical problems. Our pupils can have a wide range of difficulties including Autistic Spectrum Disorder and join us from the whole of the borough; usually travelling to school in a minibus provided by the Local Education Authority (LEA).
Pupils are taught in small classes by a Teacher and a Teaching Assistant (TA). Pupils attend assemblies, concerts, plays and take part in all school activities. Our pupils also play an active part within school bodies such as The School Council, Prom Committee and the House System. Pupils use all specialist classrooms around the school.
Torfaen LEA determines who attends Abersychan Special Needs Resource Base.
The SNRB shares the aim of Abersychan School in its endeavour to provide the best education for all our pupils. Staff strive to help pupils play a full and active role within both school and society; this being achieved by offering an educational and social curriculum which develops both self-esteem and confidence through success. It is the aim of the SNRB to create a harmonious environment that is conducive to developing the pupils' learning, social and emotional needs while respecting the individual's rights at all times. The 2009 Estyn Report noted, 'Teaching and support staff within the SNRB are dedicated and enthusiastic. The quality of teaching and support is a significant strength.'
The SNRB offers a more supported environment but pupils can access suitable mainstream lessons through Key Stage (KS) 3 and if able will then complete GCSEs in those subjects at the end of KS 4. Within the SNRB, pupils complete Welsh Joint Education Committee (WJEC) Pathways Exams. The SNRB functions as a Department of the school and as a result operates as a fully included part of Abersychan School.
The SNRB aims to fully involve parents in the education process and firmly believe close home/ school links are fundamental to this. A multi-disciplinary approach is sought in helping pupils; parents are informed very early if issues emerge and are kept fully up to date on pupils' progress. Parents are encouraged each term to come in and set educational targets with teachers and are invited to numerous update meeting such as Statement and Transition Reviews and Parents Evening. We also aim to create good links with any Outside Agency that is involved in our pupils' lives.
Our Schemes of Work (SOW) and Assessment for Learning (AfL), target progression both academically as detailed by The National Curriculum Attainment Targets and also with Social and Independence Skills. The 2009 Estyn Report stated, 'It (The SNRB) provides a very effective social and educational placement within a caring environment.' Our ethos is detailed in Abersychan School's Vision Statement and Aims:
At Abersychan our aim is to provide an innovative and dynamic approach to learning, enabling all pupils with the skills to thrive in a continually changing world.
We promote an ethos of high expectations, academic achievement, positive values and continuous improvement within a caring, orderly, supportive and fully inclusive community.
We believe that all pupils are of equal value and we are committed to the pursuit of individual excellence, achievement and success for everyone.
Our fundamental aim is summarised in the Mission Statement:
Learning to live – Dysgu i fyw
'The SNRB for pupils with moderate learning difficulties and associated behavioural difficulties is an outstanding feature of provision with the school.' (Estyn Report, 2009)

redpajama_set_name: RedPajamaCommonCrawl


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Love in the Time of Debt: My Dear Enemy (멋진 하루, Meotjin Haru) 2008
Part of Rex Baylon's ongoing feature on director Lee Yoon-ki.
To speak about love in a contemporary real world setting and ignore the logistics of survival has been the bane of the romance genre. In order to sidestep these problems filmmakers in the past have either focused their eye to the upstairs-downstairs drama of the 1% or offered up sentimental stories of shopgirls being wooed by nebbish young suitors. Modern day romantic comedies haven't fared any better since most are concerned with merely finding one's true love and quickly fading out once our two lovers are finally together. The romance genre's evolution through the years has ignored the economics of love in favor of offering up quirky characters in contrived situations.
In Lee Yoon-ki's My Dear Enemy money is the impetus for the two ex-lovers reuniting and the reason why they spend the entire day together. Instead of cloying attempts to tell a story about two people falling in love again while draped on all sides by a scenic urban backdrop we get tense scenes where petty grudges are rehashed and even the happier moments of the past are remembered through a cloudy veneer of regret and nostalgia. Far from offering up an affected view of modern day relationships My Dear Enemy is a realistic character study of the ways that hate and love are used to mask one's insecurities, it's a travelogue, a visual and aural document, of Seoul at the cusp of a worldwide economic recession, and a charming romantic comedy.
Structured as a series of vignettes we follow emotionally repressed Hee-soo (Jeon Do-yeon) getting dragged around Seoul by her annoyingly optimistic ex-boyfriend Byung-woon (Ha Jung-woo) in an attempt to collect the 3.5 million Won debt that Byung-woon still owes her. Though the two haven't seen each other for over a year Lee's script, co-written with Park Eun-yeong and adapted from the Japanese novella One Fine Day by Azuko Taira, doesn't spell anything out for you. Their relationship ended badly but the root causes of that are merely hinted at, unlike the ex-lovers found in most over-heated romances Hee-soo and Byung-woon's arguments never really concern what they are fighting about.
Hee-soo clutches her emotions close to the vest. Watching Jeon Do-yeon on screen is a master class in subtle emotional restraint. Vacillating between anger, bemusement, and annoyance seamlessly we can read the couple's entire history just by looking at the expression on Hee-soo's face the moment she barks, "I want my money" to a surprised Byung-woon. It's no surprise that the previous year Jeon had starred in Lee Chang Dong's Secret Sunshine (2007) since many of the emotional tics that had garnered her praise in that film linger on with Hee-soo, though in an obviously less histrionic way.
Driving Byung-woon around town to collect her money it's at times unclear whether these two are really broken up or if we are merely dropping in on a couple during a very busy weekend together. The chemistry between the two is so palpable that no time is wasted doling out pointless exposition. Who are these women that willingly give money to Byung-woon? What are Hee-soo's reasons for tracking Byung-woon down? We want to know but in all honesty they don't matter to the overall narrative. It takes a confident storyteller to not just realize this but also have the wherewithal to follow through.
Though at first our perceptions of Hee-soo as an emotionally withdrawn Ice Queen and Byung-woon as the perennial man-child might lead many to make certain expectations as to the kind of character revelations that might occur in the story, luckily for us someone forgot to tell the two that they were in a film. The multiple sets of masks that both wear to hide their fears and shortcomings makes rewatching scenes akin to examining the Zapruder footage, as we try to suss out the hidden meanings of plainly said words, glances, or gestures.
It is easy to label Byung-woon as a conman, just as Hee-soo repeatedly does in the movie. Rambling on about his latest business idea, acting like a submissive dog when around friends, family, and strangers alike, or easily charming women through banal small talk, this façade hides a layer of insecurities and past wounds which in turn hides a man hungry to get back some of his former success. Leap frogging from one identity to the next one can't help but think that maybe Ha Jung-woo was channeling a little bit of the baby-faced psychopath that he played in Na Hong-jin's The Chaser (2008), released only a few months before Lee's film.
Whatever the inspiration may be for these two it can't be overstated enough that aside from the back and forth romance at the center of the film one can't ignore the relationship between these characters and the city of Seoul. Eschewing touristy attractions like posh Gangnam or foreigner friendly Itaewon we instead are shown the less glamorous side of the land of K-pop and big production dramas. Within this everyday environment exists a panoply of characters, each one occupying a unique social and/or economic class. From an affluent middle-aged businesswoman to a high-class hostess, dysfunctional young couples, grey-haired bikers, an aloof teenager, and finally a single mother struggling to make ends meet. Lee takes great pains to showcase these characters as something greater than their quirks. More importantly, what links all of these supporting players is money, be it an excess or lack of it. By that I don't just mean in relation to Byung-woon's goal to repay his debt to Hee-soo, but in the way money dictates behavior and actions, especially in a country where hierarchy is of the utmost importance in regards to social etiquette.
Lending the film a romantic and dreamlike atmosphere, Kim Jeong-bom's upbeat bossa nova score is a wonderful counterpoint to Choi Sang-ho's long takes and matter of fact visual style. Riding in Hee-soo's car or traveling by public transit or foot, My Dear Enemy fits alongside other great travelogue films like Lost in Translation (2003) or Adrift in Tokyo (2007). Just as those films featured two lonely people trying to move forward with their lives but hopelessly stuck in the same routines, Hee-soo and Byung-woon begin the film as drifters. In Byung-woon's case, this is literally the truth since he is homeless and surviving through the kindness of the various women that he befriends, but Hee-soo could also be said to be a drifter. Although we only get scraps of information throughout the film about her life after their breakup, it is obvious from her pale complexion and the dark eyeliner around her eyes that she is a woman suppressing a lot of anger and self-loathing. Finding Byung-woon and following him around throughout the film is a flimsy attempt by her to exorcise any demons she has concerning him but by the last scene she has come to terms with their relationship. Though both do part ways you get a sense that their story has not ended yet.
Of the five films Lee Yoon-ki has directed My Dear Enemy is the first and only one that could be classified as a commercial film. Aside from the fact it has established stars in the lead roles it also moves with an energy and optimism absent from Lee's other films. Though those pictures are masterpieces in their own right their ponderous and languid pace can alienate viewers. My Dear Enemy suffers none of those faults and showcases Lee's unwavering obsession with the ways in which the human psyche is at constant war with itself in regards to our conflicting desire for human interaction and comforting isolation. This universal theme alongside his interest in probing the female psyche proves beyond a doubt that Lee belongs in the pantheon of contemporary film masters.
Lee Yoon-ki Feature:
Whose Lie is it Anyway: Ad-lib Night (아주 특별한 손님, Aju Teukbyeolhan Sonnim) 2006
Labels: 2008, film review, ha jung-woo, jeon do-yeon, korea, Korean cinema, lee yoon-ki, Meotjin Haru, my dear enemy, rex baylon, 멋진 하루
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American Management Systems Inc. last week announced an estimated $30 million contract to develop and install a record-keeping system that will track the more than $47 billion that federal employees have invested in the Thrift Savings Plan (TSP).
The system will help manage TSP a retirement savings plan for federal employees similar to the 401(k) plan offered in the private sector. As of February 2.3 million federal employees including postal workers had invested in TSP.
Thomas J. Trabucco a spokesman for the Federal Retirement Thrift Investment Board which manages the plan said the AMS pact is among the largest computer-related contracts the organization has let.
The Thrift Investment Board tapped AMS in March to negotiate the contract selecting the company out of a field of five bidders which the investment board declined to identify. The contract was signed late last month.
AMS will build a record-keeping system that will replace the Thrift Investment Board's current IBM Corp. mainframe-based system.
Harry Barschdorf vice president of AMS' Federal Financial Management and Administration practice said some elements of the new system are likely to remain mainframe-based while other components will be installed in a client/server environment.
AMS plans to use two software packages to provide the core record-keeping functions: AMS' Federal Financial System and SunGard Employee Benefits Systems' OmniPlus.
AMS also will create a customer care application that will integrate core record-keeping functions with an integrated voice response system. AMS expects to develop a World Wide Web-based application that will allow TSP participants to review their investments and conduct transactions via the Internet.


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text:
Contemporary gallery Gazelli Art House supports a wide range of international artists, presenting a broad and dynamic programme to a diverse audience through global public projects and exhibition spaces in London and Baku. Gazelli Art House was founded in 2003 in Baku, Azerbaijan where it held exhibitions with Azeri artists. Having hosted conceptually interlinked off-site exhibitions across London, founder and director of Gazelli Art House, Mila Askarova, opened a permanent space on Dover Street, London in March 2012. In 2017, the redesigned gallery space reopened in Baku, with an ambitious annual program showcasing both local and international artists.
Representing artists like Aziz+Cucher, Derek Boshier, Stanley Casselman, Francesco Jodice, Recycle Group, Kalliopi Lemos, Niyaz Najafov and Saad Qureshi amongst others, the gallery has built a consistent and diverse program with artists working in sculpture, photography, painting, video, performance and virtual reality. In 2015, the gallery launched its Digital Art House www.gazell.io, an online residency for artists working in the digital and virtual reality realm. On an annual basis, curated shows titled Enter Through the Headset are held to feature a select few from the previous residents in the physical space of the gallery. Committed to building a market for VR works as a medium, audiences can access previously shown works both within the residency and at the group shows, through a headset available at all times in the gallery.
In 2012, the gallery launched the Window Project utilising the frontage of the gallery as an additional display platform. Since 2015, the initiative has been remodelled to solely accommodate art school graduates through open call competitions three times a year. As part of the gallery's on-going commitment to art education, the gallery publishes catalogues and artist books as well as hosts a program of Tuesday Talks – one per show – to address topics raised through the exhibitions and encourage a deeper dialogue around them.


Technology has enhanced all kinds of spectrum in the universe. One of these enhancements contains automotive technology. Evaluate a automobile made in 2003 and now, you'll be able to see a huge enchancment of entertainment system and many more. Let's look at some of these tech-friendly automobiles made in 2013. What did we do without our current applied sciences again in the early 1970s? Traveling again to that decrease-tech period is a shock just like that assailed the characters in Back To the Future once they left the 1980s to visit Fifties America. Of the sectors above, the one to have seen lively automation early on is the auto manufacturing business, which has and continues to make use of automated assembly lines to construct cars in huge numbers.
Ever since that vivid second, we've got been communicating via telephone, nonetheless the invention has changed dramatically still since then. In the late 1990's the cell phone was created, this enabled folks to make use of the telephone on the go and has been an excellent larger success. They'll also contribute content to present websites by, for examination- ple, utilizing a tv station's website to submit pictures and video that is likely to be broadcast. In some cases, the standard terms audience and even readers now not accurately reflect the active function of what can be referred to as more appropriately customers of the brand new" media.
These are affiliate hyperlinks to Amazon. If you are going to buy considered one of these after clicking through from my blog I'll obtain compensation. To ensure that the RESET enter to be efficient, it will need to have a minimal period of two machine cycles. In different phrases, the excessive pulse have to be excessive for no less than two machine cycles before it's allowed to go low. Are there any jobs that help people sell their junk or unwanted objects? I've loads of things within the attic, but it surely takes a lot time to set every bit up for sale. Pictures, writing item particulars, etc.
What these people do is only deceptive, there isn't any valid and even good reason for any of it. Don't enable them to deter or manipulate you for any reason. Scanners with optical character recognition can read printed material and retailer it electronically on computers, where it may be learn utilizing speech synthesis or printed in giant print. He could be as determined for hourly retweets as the rest of us, gathering likes" from followers on Facebook as an alternative choice to marching with them. Imagine John F. Kennedy attempting to rally nationwide support for a decade-lengthy race to the moon? The extreme current is not an atmosphere conducive to building lasting actions.
This job has been very inspiring. I'm a scholar, mother, and worker but fail to have ample funds for all. Plainly waitressing is the most effective income I have found and I like meeting the individuals I do. Still, it is vitally hard to find employers that work with my crazy schedule or being a mother first and scholar second. These concepts have given me some nice inspiration! I'm going to be at a hundred and forty credits and about a 3.eight GPA with demanding programs by the time I have my MA because I'm unsure the place I want to go after. Largely because of monetary security. This article is definitely what I wanted.


This entry was posted on Thursday, March 10th, 2005 at 11:23	and is filed under Skupina 001, Výstavy. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.


text:
CME: April Beef, Pork, Poultry Production Up Compared to a Year Ago
Markets and economics Broilers
29 May 2013, at 9:08am
US - According to the latest USDA 'Livestock Slaughter' and 'Poultry Slaughter' monthly reports, released on Thursday (23 May), April beef, pork and poultry production was notably higher than a year ago, write Steve Meyer and Len Steiner.
The increase was in part due to calendar differences, with April 2013 containing 22 weekdays vs. 21 weekdays a year ago. Still, even when adjusting for the extra slaughter/production day, output numbers across all three main species were higher. Combined beef, pork and poultry production in April was estimated at 7.810 billion pounds, 6.3 per cent higher than in April 2012. Weekday production in April 2013 was 355 million pounds, compared to 349.8 million pounds a year ago, 1.5 per cent higher than a year ago.
Beef: Total cattle slaughter in April was 2.729 million head, 6.2 per cent higher than the previous year. The average weekday slaughter in April was 123,068 head, 1.4 per cent higher than a year ago. This was the largest weekday slaughter increase since June 2011. The increase in average daily cattle slaughter was driven by more cows coming to market than a year ago. Daily steer/heifer slaughter in April was actually down 0.9 per cent from a year ago while daily average cow slaughter for the month was 11.5 per cent higher than last year. This was the largest year over year increase in daily cow slaughter since September 2011. Cattle carcass weight continue to run above year ago levels but the pace of growth has slowed down. The average steer carcass weight in April was pegged at 844 pounds, 1.1 per cent over a year ago. Total commercial beef production in April was 2.127 billion pounds, 6.9 per cent higher than a year ago. Average daily beef supplies in April were about 96.7 million lb./day, 2.0 per cent higher than the previous year.
Pork: Hog slaughter in April was estimated at 9.361 million head, 6.1 per cent higher than a year ago. The average daily hog slaughter at 425,523 head was 1.2 per cent higher than a year ago. The average hog carcass in April was 208 pounds, 0.5 per cent lower than a year ago. Total pork production in April was estimated at 1.941 billion pounds, 5.4 per cent lower than a year ago. The average supply of pork coming to market in a weekday was 88.2 million pounds, 0.6 per cent higher than last year. Daily pork output has been constrained since last fall (see chart) but lower feed costs and more pigs per litter should help bring more hogs/pork to market later in the year.
Broiler production growth has resumed in recent months despite sharply higher feed costs. Broiler ready-to-cook (RTC) production in April was 3.192 billion pounds, 6.6 per cent higher than a year ago. The average daily broiler production was 145.2 million pounds, 1.8 per cent higher than a year ago and the sixth consecutive month of higher broiler production numbers.
You can view the USDA Poultry Slaughter report by clicking here.


text:
Texas A&M Sets Up Palo Alto Networks Firewall
Texas A&M University at Galveston, an island campus with about 1,650 students, has deployed a new firewall appliance from Palo Alto Networks to improve network security and control. The university was previously using network scanning and packet shaping devices. It purchased Palo Alto's PA-2050, which provides for 1 Gbps firewall throughput, 500 Mbps threat prevention throughput, 300 Mbps IP security virtual private networking throughput, and 2,000 IPSec VPN tunnels and tunnel interfaces. It can manage 15,000 new sessions per second and can accommodate a maximum of 250,000 maximum sessions.
"In addition to upgrading our threat protection infrastructure, we needed to regulate the bandwidth that the residence halls were using to ensure that bandwidth is available for our learning and business needs," said John Kovacevich, systems analyst. "Palo Alto Networks next-generation firewalls are multi-function devices that do more than the other products combined and give us everything we need."
Kovacevich said he received a demonstration unit from the company in mid-July 2009, which took about a day to set up in front of residence hall network traffic. The university purchased its own unit in August, and the systems analyst estimated that transferring the configuration from the demo unit to the new unit took less than an hour. Most recently, he set up two interfaces to put up in front of the entire network specifically to block viruses and spyware.
"Palo Alto Networks not only protects us much better, it is far more affordable than the other solutions. Being a state organization, budgets are tight and we need to do more with less. Palo Alto Networks lets us do that, and makes us more responsible with the money we have."
Oregon State University Pioneers a Move to the Cloud
Secure Shadow IT: Protecting Your Digital Transformation


Aerodynamic heating of an airfoil with a short fin attached to its surface is computationally investigated. This research is motivated by the fact that the gap fillers inserted between the insulation tiles of the space shuttle thermal protection system may sometimes get loose and extend beyond the surface and cause an uneven aerodynamic heating of the surface. It is often difficult for engineers to determine whether the protruded gap filler would cause an undesirable effect in the boundary layer including early turbulence transition or shockwaves that could cause an unsafe increase in surface temperature. In this investigation, the supersonic flow over NACA 0012 airfoil on which a short fin is attached is studied using a computational approach. The method is validated by the experimental data available in published literature. The results indicate a significant increase in the surface temperature in the vicinity of the fin. This elevated temperature extends downstream beyond the location of the fin and covers a large portion of the airfoil downstream of the fin. The fin induces an oblique shockwave followed by an expansion wave.
Pellerin, C., 2008, "NASA Authorizes Spacewalk to Fix Shuttle Problem Astronaut to Remove Protruding Gap Fillers From Discovery's Heat Shield," The Bureau of International Information Programs, U.S. Department of State, http://www.america.gov/st/washfile-english/2005/August/20050802141006lcnirellep0.5377161.html.
New Scientist, 2008, "Dimensional Picture of Protruding Gap Filler," http://space.newscientist.com//data/images/ns/cms/dn7767/dn7767-1_475.jpg.
Gruenewald, K. H., 1953, "Temperature Recovery Factors in the Transitional and Turbulent Boundary Layer on a 40-Degree Cone Cylinder at Mach Number 2.9," Naval Ordnance Laboratory, NAVORD Report No. 2742.
Petley, D. H., Smith, D. M., and Edwards, C. L. W., 1983, "Filler Bar Heating Due to Stepped Tiles in the Shuttle Orbiter Thermal Protection System," "NASA Conference Publication", NASA, Scientific & Technical Information Branch, Washington, DC, Part 2, pp. 891–911.
Campbell, C. H., Driver, D. M., and Alter, S. J., 2007, "Orbiter Gap Filler Bending Model for Re-Entry," AIAA Paper No. AIAA-2007-413, pp. 1–3.
Spalart, P. R., and Allmaras, S. R., 1994, "One-Equation Turbulence Model for Aerodynamic Flows," Rech. Aerosp., (1), pp. 5–21.
Fluent Inc., FLUENT 6.3 User's Guide, Lebanon, NH.
Tenaud, C., and Loc, T. P., 1995, "Numerical Simulation of Unsteady Compressible Viscous Flow NACA 0012 Airfoil—Vortex Interaction," "Lecture Notes in Physics", Vol. 453 , Springer, Berlin/Heidelberg, pp. 562–567.
Kays, W., Crawford, M., and Weigand, B., 2005, "Convective Heat and Mass Transfer", McGraw-Hill, New York.
Contours of static temperature for supersonic flow over NACA 0012 airfoil at M=2.5. Flow is from left to right. The fin is located at x/c=0.15, 0.30, and 0.80.
Distribution of the temperature recovery factor on the upper and lower surfaces of the airfoil; NACA 0012; M=2.5. The experimental data are from Fig. 9 of Ref. 3.
Distribution of the temperature recovery factor on the upper and lower surfaces of the airfoil as a function of Prandtl number; NACA 0012; M=2.5. The range of experimental data is from Table 2 of Ref. 3.
Contours of pressure for supersonic flow over NACA 0012 airfoil at M=2.5. Flow is from left to right. The fin is located at x/c=0.15, 0.30, and 0.80.
Contours of Mach number for supersonic flow over NACA 0012 airfoil at M=2.5. Flow is from left to right. The fin is located at x/c=0.15, 0.30, and 0.80.
Grid refinement study and validation of the computational results for NACA 0012 airfoil. The experimental data are taken from Fig. 1 of Ref. 9.
Molki M, Fasig DW. Thermal Response of Supersonic Airflow to a Fin Protrusion Situated on a Curved Surface. ASME. J. Heat Transfer. 2009;131(11):111704-111704-5. doi:10.1115/1.3155003.


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Home / Teaching / Professional Development for Teachers / Measuring What Matters: Transforming Assessment and Recognition of Complex Learning Competencies / Charles Fadel from the Center for Curriculum Redesign discusses complex competencies
Charles Fadel from the Center for Curriculum Redesign discusses complex competencies
Watch Charles Fadel, Founder and Chairman of the Center for Curriculum Redesign (Boston, MA) as he unpacks four layers to assess complex competencies.
View Charles Fadel, Founder and Chairman, Center for Curriculum Redesign (Boston, Massachusetts) as he unpacks the state of play – four layers to assess complex competencies. Charles Fadel comments on how well the complex competencies are being taught and assessed based on what he is seeing around the world.
Around the world, frameworks exist with different versions, different names and different arrangements, but there is an underlying commonality.
Education systems globally recognise there is a need to broaden their learning goals to prepare students for their future. They are increasingly recognising the need to teach their students a new set of competencies beyond traditional disciplines such as mathematics, science and reading. In order to be successful in learning, life and work, students must master 21st-century skills like creativity and critical thinking, social-emotional learning characteristics like curiosity and resilience, and meta-learning abilities often described as "learning to learn."
The Brookings Institution examined the extent to which countries around the world are including 21st-century skills and social-emotional learning in their national education policies so that students can develop these competencies. The study found that, although most countries acknowledged the importance of 21st-century skills in their high-level education policies, the inclusion of these skills was less evident in curriculum and pedagogy policies, suggesting they may not be present in classrooms.
…education systems recognise the need to broaden their learning goals to prepare students for the 21st century. A previous study by the Brookings Institution examined the extent to which countries around the world are including "21st-century skills" and "social emotional learning" in their national education policies so that students can develop these competencies. …Although most countries acknowledged the importance of 21st-century skills in their high-level education policies, the inclusion of these skills was less evident in curriculum and pedagogy policies, suggesting they may not be present in classrooms.
The University of Melbourne online course,
Measuring What Matters: Transforming Assessment and Recognition of Complex Learning Competencies
R. Taylor, C. Fadel, K. Helyn, E. Care, Competencies for the 21st century Jurisdictional progress, (2020) p. 1
Explore the interactive on the Brookings Institute website to see where and how educators from across 22 jurisdictions – countries, provinces and states – in North America, Europe, Asia and the Pacific have incorporated 21st-century competencies into their education systems and are teaching 21st-century competencies.
Are competencies evident in the curriculum and pedagogy in your system or organisation? Note your thoughts in your journal.
Further reading/viewing
If you'd like to read more, Charles Fadel co-authored a paper called Competencies for the 21st century – Jurisdictional progress.
You can also watch a video of Charles Fadel in conversation with Anthony Mackay AM about assessing countries' competencies.
This content is taken from The University of Melbourne online course


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text:
var gulp = require('gulp');
var typescript = require('gulp-typescript');
var sourcemaps = require('gulp-sourcemaps');
var appDev = 'app/';
var appProd = 'public/js/app/';
var vendor = 'public/js/vendor';
var tsProject = typescript.createProject('tsconfig.json');

gulp.task('build-ts', function () {
    return gulp.src(appDev + '**/*.ts')
        .pipe(sourcemaps.init())
        .pipe(typescript(tsProject))
        .pipe(sourcemaps.write())
        .pipe(gulp.dest(appProd));
});

gulp.task('build-copy', function () {

    return gulp.src([appDev + '**/*.html', appDev + '**/*.htm', appDev + '**/*.css'])
        .pipe(gulp.dest(appProd));
});
gulp.task('watch', function () {
    gulp.watch(appDev + '**/*.ts', ['build-ts']);
    gulp.watch(appDev + '**/*.{html,htm,css}', ['build-copy']);
});
gulp.task('vendor', function() {

    // Angular 2 Framework
    gulp.src('node_modules/@angular/**')
        .pipe(gulp.dest(vendor + '/@angular'));

    //ES6 Shim
    gulp.src('node_modules/es6-shim/**')
        .pipe(gulp.dest(vendor + '/es6-shim/'));

    //reflect metadata
    gulp.src('node_modules/reflect-metadata/**')
        .pipe(gulp.dest(vendor + '/reflect-metadata/'));

    //rxjs
    gulp.src('node_modules/rxjs/**')
        .pipe(gulp.dest(vendor + '/rxjs/'));

    gulp.src('node_modules/core-js/**')
        .pipe(gulp.dest(vendor + '/core-js/'));

    //systemjs
    gulp.src('node_modules/systemjs/**')
        .pipe(gulp.dest(vendor + '/systemjs/'));

    //socket.io
    gulp.src('node_modules/socket.io/**')
        .pipe(gulp.dest(vendor + '/socket.io/'));

    //socket.io
    gulp.src('node_modules/socket.io-adapter/**')
        .pipe(gulp.dest(vendor + '/socket.io-adapter/'));
    gulp.src('node_modules/socket.io-client/**')
        .pipe(gulp.dest(vendor + '/socket.io-client/'));
    gulp.src('node_modules/socket.io-client/**')
        .pipe(gulp.dest(vendor + '/socket.io-parser/'));
    gulp.src('node_modules/jade/**')
        .pipe(gulp.dest(vendor + '/jade/'));

    gulp.src('node_modules/ng-simple-webrtc/**')
        .pipe(gulp.dest(vendor + '/ng-simple-webrtc/'));
    gulp.src('node_modules/simplewebrtc/**')
        .pipe(gulp.dest(vendor + '/simplewebrtc/'));
    //zonejs
    return gulp.src('node_modules/zone.js/**')
        .pipe(gulp.dest(vendor + '/zone.js/'));

});

gulp.task('default', ['watch', 'build-ts', 'build-copy']);

redpajama_set_name: RedPajamaGithub


Hey guys......so I was working on my new course...and got the the lesson on making brushes.....sooooo I had to amek some brushes.
I made a set of fog/ smoke brushes in raster and a set of silky smooth stroke brushes for your vector applications.
I am surprised that nobody replied to your generous gift yet. I love it and appreciate it very much.
Thank you! Just discovered this area of the forum!
Je n'ai pas encore l'habitude de naviguer intelligemment sur le forum, ce qui me fait passer à côté de belles réalisations comme la vôtre.
Ce style de brosses,très souvent utiles mais rares.
Thank you so much for these brushes, it's very much appreciated.
I don't know how I missed this thread earlier! Thank you very much.
I missed it too. These are very cool, and I can definitely use them in my workflow. Thanks. I like how you also have vector brushes. I don't find too many of those.
Hey @jhazel0705 thanks for sharing your brushes!
Loving the smoke and cloud brushes! Thanks so much!
Specially that the smoke / fog brush does not have a hard edge that one could see!
Thanks for the brushes! Nice work.
Nice brushes! Thanks so much for sharing!


text:
define(function(require, exports, module) {
    "use strict";

    var Log = require("modules/util/Logger");

    /**
     * It creates a new object CustomHttpClient.
     * @class This class is the abstraction Layer of HTTP Client.
     * @param {Boolean} async true value represents asynchronous mode
     */
    var CustomHttpClient = function(async, app) {
        this.app = app;
        this.super = new dcc.http.DcHttpClient();
    };

    CustomHttpClient.prototype.setResponseType = function(type) {
        this.super.httpClient.responseType = type;
    };

    /**
     * This method sets the HTTP Request Header.
     * @param {String} header key
     * @param {String} header value
     */
    CustomHttpClient.prototype.setRequestHeader = function(key, value) {
        return this.super.setRequestHeader(key, value);
    };

    /**
     * This method sets overrideMimeType.
     * @param {String} MimeType value
     */
    CustomHttpClient.prototype.setOverrideMimeType = function(value) {
        return this.super.setOverrideMimeType(value);
    };

    /**
     * This method is the getter for HTTP Status Code.
     * @returns {String} HTTP Status Code
     */
    CustomHttpClient.prototype.getStatusCode = function() {
        return this.super.getStatusCode();
    };

    /**
     * Thi smethod gets the specified response header value.
     * @param {String} header name
     * @returns {String} header value
     */
    CustomHttpClient.prototype.getResponseHeader = function(key) {
        return this.super.getResponseHeader(key);
    };

    /**
     * This method gets all the response headers.
     * @returns {Object} response header
     */
    CustomHttpClient.prototype.getAllResponseHeaders = function() {
        return this.super.getAllResponseHeaders();
    };

    /**
     * This method retrieves the response body in the form of string.
     * @returns {String} responseText
     */
    CustomHttpClient.prototype.bodyAsString = function() {
        return this.super.bodyAsString();
    };

    /**
     * This method retrieves the response body in the form of binary.
     * @returns {Object} response object
     */
    CustomHttpClient.prototype.bodyAsBinary = function() {
        return this.super.bodyAsBinary();
    };

    /**
     * This method retrieves the response body in the form of JSON object.
     * @returns {Object} responseText JSON format
     */
    CustomHttpClient.prototype.bodyAsJson = function() {
        return this.super.bodyAsJson();
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    /**
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     * Execute method is used to send an HTTP Request, decides request mode based on this.async.
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     * @param {String} requestUrl
     * @param {Object} options contains body and callback success, error and complete
     * @param {accessor} to set response header
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     * This method sets Asynchronous mode.
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    CustomHttpClient.prototype.setAsync = function(async) {
        return this.super.setAsync(async);
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    module.exports = CustomHttpClient;

});


Revy Elle Atashroo was born on Nov. 27. Her name honours the town her parents loved exploring.
Dec. 10, 2017 11:40 a.m.
When David and Megan Atashroo's daughter, Revy Elle, was born on Nov. 27th, 2017, her name had already been decided for months.
Megan, a nurse practitioner at Stanford Health Care in the adult cardiac surgery department, and David, Chief of Staff at Qventus, a healthcare tech startup company, are avid skiers and have long traveled to Canada to hit the slopes. The couple has explored Lake Louise, Sunshine and Whistler. Last winter, they decided to venture to Revelstoke.
The couple happily shares memories of their trip, including a case of frostbite and the Revelstoke-wide sell-out of neoprene booties. "Word to the wise, northern climes pair frigid temps with matchless snow," David jokes.
The town and people left a positive impression on the Atashroos, and they enjoyed several local favourite stops including the Bierhaus and the Village Idiot. The resort itself took their breath away.
Months later when they were back at home in Northern California and discovered they were going to have a little girl, the knew what to call her.
"We wanted this little girl to grow up knowing that she was fierce, and courageous, and beautiful…the mountains make us feel this way, and Revelstoke most of all," David says.
David and Megan plan to visit Revelstoke again in the next couple of years to introduce their daughter to her namesake. The joy that a ski trip to Revelstoke has brought the Atashroos is heartwarming – a beautiful reminder to us who live here how fortunate we truly are.


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text:
From Good to Great: Fiction Addiction at 2A
Electric Literature
1. Christine Vines, Fiction Addiction's indomitable host, is also "on fire." 2. Nonfiction writers and realtors Blanca Marsh-Weinstock and Leon Feingold.
"Someone Great" by LCD Soundsystem cling-clanged in the background of 2A's upstairs lounge on Tuesday night as we gathered around not just one great someone, but four: writers Steve Danziger, John Reed, Myla Goldberg and Joshua Henkin. The greats rolled in with the rest of us for Fiction Addiction, Christine Vine's monthly reading series in the East Village.
1. "We lived in Brooklyn when people were trying to get out of Brooklyn," Steve Danziger, bathed in orange light and reading from "Some Other Mountain" in The Coffin Factory. 2. Laura Isaacman, editor of The Coffin Factory, raffling off free issues of her magazine like the fairy godmother that she is.
Steve Danziger swept us into the world of septuagenarian tourism in the Middle East, which the tour guide assures them is "just like Brooklyn." Reminiscing about previous overseas jaunts, the matriarch narrator professes, "It's not a breakdown if they don't hospitalize you." Write that down. Put it in your pocket. Repeat it at your next opportunity. Also, remember this: "There's a universal world for toilet. It's toilet."
Something else to consider: "Did you ever see those movies when two retarded people get married and go to a carnival?" Don't worry — the mother in Danziger's story is only bringing this up because her husband is acting like, "a mentally retarded newlywed who's never seen a Ferris wheel." Oh, the joys of travel.
1. John Reed, who grew up in the East Village, shilling belts on behalf of a high school acquaintance he randomly ran into on his way over: "They make a great Christmas gift." 2. Writers Helen Rubinstein and CJ Hauser, last photographed for EL at the One Story Ball, which was a ball.
Next up, John Reed exploded my concept of a sonnet with these opening lines:
"The truth is, I only tell 13 lies.
Lie no. 2: I lie in praise of heaven.
Three: this is between just the two of us.
Four: in the silence we share, we are whole.
Yes, I heard you (five), I was listening."
Before moving onto his novel, Snowball's Chance, the crowd pleaded for one more sonnet (crowds are always doing this). As he flipped through his remaining poems, Reed inquired about our taste. "Do you want a person on fire at the drug store or — " "Yes!" we shouted. Fire it was.
1. Myla Goldberg, wearing signage for her 60-foot projection on the building across the street, "Shhh! The taco truck doesn't know I'm here." 2. Maureen Baker and George Gaó, who ad libbed a short story, "I was feeling bored and lost in the city, and I needed to jump start my post-college life. Fiction Addiction was my inspiration."
Luckily, the phoenix rises from fire. As does Myla Goldberg, whose narrator sells ice cream replicas of the town's deceased child star, their so-called Little Darling, "America's Princess of Peace." Before Little Darling was vaulted into fame, "there were names going around: Little White Whitney Houston Wanna-be, That Crazy Girl, Little Miss Incredibly Annoying. I may have come up with a few of them myself." Little Darling would belt out The Greatest Love of All during the narrator's ATM transactions, normal enough in Manhattan, though potentially irritating nonetheless. And this wasn't Manhattan — it was Main Street.
1. Joshua Henkin, considering a career as a basketballer. 2. Emily Strosser, who's reading Lewis Hyde's The Gift, Kelly Stout, who's reading everything by Nora Ephron, and Mark VanHare, who's reading David Remnick's profile on Bruce Springsteen in the New Yorker.
Joshua Henkin read a scene from his novel The World Without You, where the matriarch, Marlyn, announces over a family meal, "I'm leaving your daddy. We lost our son," she says. "It's ruined us." "Do you think Leo would have wanted this?" one daughter asks. "I have no idea what Leo would have wanted. That's the point. He's not here." What follows is the saddest dessert description known to man: "Now dessert is before them, loosed from its box, sitting on a doily in the middle of the table, a key lime pie, with the words kosher and pareve on the discarded wrapping."
What did we learn here, kids? Drop the news after dessert. And for more literary delicacies, come back in August for the next installment of Fiction Addiction.
— Erika Anderson [photos, text and captions] moved to Brooklyn from Geneva, Switzerland. She has an MFA in creative nonfiction from Vermont College of Fine Arts, contributes to Hunger Mountain and tweets for the Franklin Park Reading Series.
— Jeremiah Cumberbatch [photos] is a photographer based in New York City, and regularly photographs Fiction Addiction. Find him here.
A Finite Space, Impossibly Small: Charles Yu at McNally Jackson
Aug 3 - Electric Literature Read
18 Free or Cheap Literary Reading Series in NYC
See your favorite writers, or find new favorites, on a starving artist budget
Jun 28 - Andrea Oh
Other Literary Concepts That Should Be Met Gala Themes
After this year's "camp" ensembles, we're ready for the event to go full English major
May 10 - Helena Fitzgerald
A Book Nerd's Guide To The 2019 Met Gala
A reading list inspired by some of your favorite looks
May 7 - Dana Karlson


Band to Join, Vocalist, Vocalist - Bass, Vocalist - Baritone, Vocalist - Tenor, Vocalist - Soprano, Rhythm Guitar, Lead Guitar, Acoustic Guitar, Bass Guitar, Drums, Other Percussion, Keyboard, Piano, Background Singer, Other, Vocalist - Alto, Ukulele, Electronic Music.
I am very open minded and ready to play with someone who feels for music the way i do.
relaxing and writing a few tunes, do a little home recording and drinking some beers.
Ever since moving to halifax i have wanted to get into the music scene here.
back home in newfoundland i always jammed with friends but never really spearheaded a full band.


Pain is an experience produced by the brain when the body experiences tissue damage or perceives potential tissue damage may occur. Due to the complexity of the nervous system, pain can occur without there being an injury such as a strain, sprain, break, burn, cut or disc herniation. Pain is an experience that has many factors, not just a signal from our tissues telling our brain that something hurts. Increased stress, sleep deprivation, illness, anxiety and depression are just a few examples of factors which may contribute to your pain experience.
Graded motor imagery technique makes you think about a particular movement or activity without actually moving. Evidence and imaging show us that neurons in the brain fire before active movement occurs, with simply imagining an activity. This is commonly utilized by athletes such as baseball players predicting where the ball will end up as the batter makes contact with it. They process visual information, and the brain decides based on past experiences where the ball will likely end up. It then tells their muscles to fire and the body moves in the direction of the ball.
Over time, your nervous system learns which tasks typically cause pain, such as rolling over in bed, moving from sitting to standing, or walking/running, and this causes the pain cycle to continue. While at rest, you can imagine yourself performing these learned painful tasks without pain. This retrains the brain and nervous system to perceive that these activities are not harmful to the body, and can thus help reduce pain experienced during the actual activities.
Treating the the impairment can consist of mobility exercises, manual therapy and aquatic therapy.
Restoring mobility to joints, muscles, and the nervous system is key to lowering the sensitivity of the nervous system and allowing you to return to the activities you want to do. This can consist of a variety of stretching and other active range-of-motion exercises.
Manual physical therapy can address tight and spasmed muscles with soft tissue techniques, improving range of motion and mobility of tight/stiff joints, and desensitization techniques can improve the way we move and reduce the pain we experience.
Aquatic therapy provides a great environment to start moving again. Its therapeutic properties allow for reduced load on your joints and muscles by reducing the effects of gravity. The 92-degree temperature of the pool often desensitizes your body to reduce the pain you may have traditionally experienced with exercise. The aquatic environment is a great place to begin to move and elevate the heart rate in a less stressful environment for the muscles and joints.
Graded exposure to aerobic exercise means gradually increasing your activity level. This is key, as the body does not like a rapid increase in activity from the level it is used to. Elevating your heart rate elicits your body to release endorphins which naturally are analgesics or pain relievers. Aerobic exercise also helps reduce inflammation and improve tolerance to your daily activities. This results in desensitization to movement and less pain with movement.
Aquacare/Excellens Physical Therapy offers free consultations with one of its therapists. To schedule a consultation, go to www.aquacarephysicaltherapy.com or call 302-200-9920.
Trevor Hirsch and James Alvarez are physical therapists at Aquacare/Excellens Physical Therapy. Hirsch and Alvarez are committed to pursuing specialized training in the effective management of chronic pain through in-depth training in pain neuroscience.


Known for his experimental and pioneering work in painting and ceramics, Kaneko has redefined what is physically and aesthetically possible for the medium, challenging the parameters of both its scale and materiality. A labor intensive process, his ceramic sculptures can take up to eighteen months of drying time and can involve a 37-day firing process to perfect the surface quality of his signature glazes. His work is represented in over seventy museum collections worldwide, and he has completed over fifty major public art commissions, often on an unbelievably monumental scale. Examples of which include two three hundred and fifty-foot long tile walls at the MBTA's Aquarium Station in Boston, MA (1993-2000), and a three-story high ceramic wall in the biology library at The University of Connecticut (1997).
Most recently, Kaneko installed Ascent, a fifty-six-foot tall glass tower in the center of Tower Square in Lincoln, NE (2014), and an installation of his iconic closed-form Dangos and Tanukis in Millennium Park in Chicago, IL (2013). In 2014 a series of twelve Tanuki figures were permanently installed at the Omaha Zoo, NE (2014). In addition to his civic projects and large-scale public commissions, Kaneko has also designed memorable theatrical set designs for Opera, which have allowed him to create immersive spatial environments based on the motifs and patterns he explores throughout his work. Productions have included Puccini's Madame Butterfly (2006), Beethoven's Fidelio (2008), and Mozart's The Magic Flute (2012). Upcoming opera productions include Madam Butterfly at the San Francisco Opera in November of 2016, and Madam Butterfly at the Washington National Opera in May of 2017.