Grand View Memorial Park & Crematory, Inc.
Our website, www.grandview-glendale.com, and all use of it is governed by these Terms of Service. Use of this website includes viewing, using, accessing, browsing or submitting any content or material on or to this website.
We reserve the right to change our Terms of Service at our sole discretion at any time. Any changes will be posted to this section of the website and therefore we strongly recommend that you revisit this section to review and ensure that you are aware of and in agreement with the Terms of Service. Use and/or continued use of the website www.grandview-glendale.com signifies your agreement with these Terms of Service and/or any changes made to these Terms of Service.
By using the website www.grandview-glendale.com you represent that all information you provide, in our submission sections or otherwise, is true, accurate and complete and that you will inform Grand View of any updates to information that has changed or that you have later found not to be true, accurate and complete. You further represent that you will not use this website for any illegal activity, will not change or attempt to change any content, will comply with any and all applicable laws and regulations and will not cause, assist or in any way impair the website or the use of the website, including without limitation by transmitting viruses, spyware, malware or any other computer code that may cause impairment to the website or its use.
Disclaimer and Limitation of Liability: By using the website www.grandview-glendale.com you expressly agree that your use is provided on an "as is" basis. Grand View expressly disclaims all warranties of any kind, whether express or implied including without limitation warranties for fitness for a particular purpose, merchantability and non-infringement of intellectual property. Grand View makes no warranties that the website will meet your requirements, will be available for your use without interruption or errors, will provide the information you require, will be error free or will be immediately corrected if errors are discovered. In no event will Grand View or any subsidiaries or affiliates be liable for any loss or damages of any kind including without limitation any direct, indirect, economic, exemplary, special, punitive, incidental or consequential losses or damages arising out of the use or inability to use www.grandview-glendale.com or as a result of any links or references to other websites found directly or indirectly by using our website.
Grand View Memorial Park & Crematory Inc. ("Grand View") is committed to protecting the privacy of every family we serve, including those who visit our website.
Grand View collects information from you only when you voluntarily enter that information in one of our "submit" sections, which are easily identifiable by the "submit" button following the information section. We will use that information to update our customer and prospective customer files and to respond to you if you have submitted a question. We will not share your information with third parties except to the extent required to fulfill a request from you, e.g. to ship you a product or send you literature. We will not sell or otherwise provide your information to any marketing organizations.
We may, on occasion, contact you via mail or email with information about programs, products or services that we offer. You may ask us not to do so.
At any time you may ask us to provide you with the information we have about you, ask us to change, correct or delete such information, ask us about the use or intended use of any information and/or express your concerns over the use of such information.
We do not collect credit card or other financial information through our website and request that you do not enter such information in our "submit" fields. If we do receive such information it will not be retained.
Grand View is open daily from 10:00am to 4:00pm, however the cemetery office is not open Sunday or Monday. The gate is normally closed to incoming traffic between 3:30pm and 3:45pm.
If you have an immediate need our representatives are available to help you 24 hours, every day.
Visits to the mausoleum must be done with supervision by a Grand View staff member and therefore an appointment is recommended from Tuesday to Saturday and required on Sunday or Monday.
Copyright @2015 Grand View Memorial Park & Crematory, Inc.


Enjoy paradise in our 2 bedroom/1 bath home (sleeps 8) directly on the Caribbean Sea. The open air deck provides a breathtaking 180 degree view of the water. Snorkel right off the house or enjoy one of the fabulous beaches within walking distance.
This 2 bedroom/1 bath home is located in Rainbow Bay just north of Governor's Harbour. This air-conditioned house is fully equipped and ready for you to relax and enjoy the magnificent Caribbean sea just outside your back door.
The master bedroom has a king size bed, the second bedroom has two twin beds and the large living room has 2 double bed futon couches. An elevated wrap around deck hosts lounge chairs and a BBQ. There is satellite T.V. and a portable CD player. We even have a great selection of spices in the kitchen for those who like their home cooking!
A short walk away is Rainbow Bay Beach with its quiet white sand beach and a picture perfect aqua-marine cove for swimming. Or, you can venture over to the Atlantic side for incredible snorkeling and beachcombing along the smooth sands and shallow reefs.
The minimum rental is for one week and runs from Saturday afternoon to Saturday morning. Additional days can be added only if the following week is not being used. A deposit of 50% is required with your reservation. The final payment is due three weeks prior to your arrival. Also with your final payment, please include a separate check in the amount of $300 for a damage deposit. A separate check is requested so that when your rental is complete, I can return your deposit check to you.


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Vincent Klaiber

I'm @vinkla, a full-stack developer, tech enthusiast, web development teacher, and open-sourcerer.

Explore my open-source projects on GitHub, find useful links in my Twitter feed and read my articles on Medium.

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Happy Flute Festival
Beep Records
William Bennett's Recording A-B
Discography Home / A - B / B - C / D / E - F - G / H / I - J -K - L - M /
N -P - R / S / T -V - W -Y
Anonymous Itsuki no komori-uta William Bennett (flute),Clifford Benson (piano) Camerata 32CM-128 [JPN]
Les Chants du Rossignol William Bennett (flute); Clifford Benson (piano) Tony Bingham
Toryanse (Japanese old folk song) (arr. Teruyuki Noda)
Camerata 32CM-128 [JPN]
Altes, Henri Duet from Methode William Bennett (flute); Edward Blakeman (flute). Tony Bingham
Bach, CPE Concerto in D major for Flute & Strings Wq.13 William Bennett (flute);,English Chamber Orchestra; directed by William Bennett Beep 39
Concerto in D minor for Flute & Strings William Bennett (flute);,English Chamber Orchestra; directed by William Bennett Beep 39
Bach, J.S Adagio from Sonata in B minor William Bennett (flute); Clifford Benson (piano). Tony Bingham
Badinerie from Orchestral Suite No. 2 in B minor William Bennett (flute),English Chamber Orchestra; Raymond Leppard CBS MDK 44650;
Sony SRCR 9292 [JPN]
Badinerie from Orchestral Suite No. 2 in B minor William Bennett (flute), London Octave London Octave
Brandenburg Concerto No. 2 in F, BWV 1047 Wynton Marsalis (trumpet); William Bennett (flute); Neil Black (oboe); Cho-Liang Lin (violin); Charles Tunnell (Cello); lan Watson (Harpsichord); English Chamber Orchestra; Anthony Newman (conductor) Sony SK 66 244.
Brandenburg Concerto No. 5 in D, BWV 1050 5 in D, BWV 1050
William Bennett (flute); Academy of St. Martin-in-the-Fields; Neville Marriner (conductor). EMI CDS 7 47881 8
Cantata No. 209 "Non sa che sia dolore" Elly Ameling (soprano); William Bennett (flute); Kenneth Heath (cello); jhon Grey (double bass); Christopher Hogwood (harpsichord); Neville Marriner (conductor); Academy of St. Martin-in-the-fields. EMI (Seraphim) EAC-30324 [JPN]
Concerto for Flute and Strings in G minor (from BWV 1056) William Bennett (flute); Christopher Hogwood (continue); Nicholas Kraemer (continue); Academy of St. Martin-in-the-Fields; Neville Marriner (conductor).
Decca 41 7 715-2;
Decca 443 847-2 London 230E 51062 [JPN]
Concerto for Violin, Oboe and Flute in D minor (from BWV 1063) William Bennett (flute); Neil Black (oboe); Carmel Kaine (violin); Christopher Hogwood (continue); Nicholas Kraemer (continue); Academy of St. Martin-in-the-Fields; Neville Marriner (conductor). Decca 28944 00372
Mass in B minor, BWV 232 Margaret Marshall (soprano); Janet Baker (soprano and contralto); Robert Tear (tenor); Samuel Ramey (bass); Academy and Chorus of St. Martin-in-the-Fields; Neville Marriner (conductor); lona Brown (violin); William Bennett (flute); Neil Black (oboe d'amore); Celia Nicklin (oboe d'amore); Martin Gatt (bassoon); Deirdre Dundas Grant (bassoon); Alan Civil (horn); John Wilbraham (trumpet); Michael Laird (trumpet); William Houghton (trumpet); Denis Vigay (cello); Robin Mcgee (double-bass); Nicholas Kraemer (organ); Noel Mander (organ). Philips 416 415-2
Bach, J.S Musikalisches Opfer lona Brown (violin); Malcolm Latchem (violin); Roger Garland (violin); Stephen Shingles (viola); Denis Vigay (cello); William Bennett (flute); Nicholas Kraemer (organ and harpsichord); Academy of St. Martin-in-the-Fields; Neville Marriner (conductor). Philips 422 556-2PM2;
Philips PHCP-3504 [JPN]
Orchestral Suite No. 2 in B minor, BWV 1067 William Bennett (flute); Thurston Dart (continuo); Academy of St. Martin-in-the-Fields; Neville Marriner (conductor). Decca 430 378-2
Orchestral Suite No. 2 in B minor, BWV 1067 William Bennett (flute); Thurston Dart (continuo); Academy of St. Martin-in-the-Fields; Neville Marriner (conductor) Decca 417 715-2 London 230E 51062 [JPN
Orchestral Suite No. 2 in B minor, BWV 1067 William Bennett (flute); Academy of St. Martin-in-the-Fields; Neville Marriner (conductor) Philips 426 462-2
Orchestral Suite No. 2 in B minor, BWV 1067 William Bennett (flute); Academy of St. Martin-in-the-Fields; Neville Marriner (conductor) EMI CDS 7 47881 8
Sonata in D, BWV 1028 (arr. William Bennett) William Bennett (flute); Clifford Benson (piano) Beep BP28
Sonata No. 1 in B minor, BWV 1030 William Bennett (flute); George Malcolm (harpsichord) ASV CD QS 6108. recorded in 1978
Sonata No. 2 in E flat, BWV 1031 William Bennett (flute); George Malcolm (harpsichord) ASV CD QS 6108. recorded in 1978
Bach, J.S No. 3 in A, B
Sonata No. 4 in C, BWV 1033 WV 1032 William Bennett (flute); George Malcolm (harpsichord); Michael Evans (cello) ASV CD QS 6108
No. 4 in A, B
Sonata No. 4 in C, BWV 1033 WV 103 William Bennett (flute); George Malcolm (harpsichord); Michael Evans (cello) ASV CD QS 6108
Sonata No. 5 in E minor, BWV 1034 William Bennett (flute); George Malcolm (harpsichord); Michael Evans (cello) ASV CD QS 6108
Sonata No. 6 in E, BWV 1035 William Bennett (flute); George Malcolm (harpsichord); Michael Evans (cello) ASV CD QS 6108
Bach, J.S Concerto in D minor, BWV 1043, for Pedal Flute and orchestra William Bennett (flute);Denis Bouriakov (Flute & Pedal Flute);English Chamber Orchestra; directed by William Bennett Beep 36
Esurientes from the Magnificat, BWV 245 for two flutes & Basoon & Orchestra William Bennett (flute);Denis Bouriakov (Flute);Graham Sheen(Basoon) English Chamber Orchestra; directed by William Bennett Beep 36
Concerto in A minor,BWV 1041 William Bennett (flute), English Chamber Orchestra; directed by William Bennett Beep 36
Barrere, Georges Nocturne
William Bennett (flute); Clifford Benson (piano) Tony Bingham
Bartok, Bela Roumanian Folk Dances (arr. Arthur Levering, rev. Simon Wynberg) William Bennett (flute); Simon Wynberg (guitar) ASV CD DCA 692, ASV CRCB-55 [JPN]
Beaser,Robert Barbara Allen, The House Carpenter, He's gone away, Hush you Bye, Cindy (from Mauntain Songs) William Bennett (flute); Jonathan Leathwood (guitar) Beep 34
Beethoven, Ludwig van Flute Concerto in D Op. 61 (Transcription by William Bennett) William Bennett (flute); English Chamber Orchestra; Steuart Bedford (conductor) Camerata 32CM-25 [JPN
Ronance in F major Op.50 William Bennett (flute);;English Chamber Orchestra; directed by William Bennett
Benson, Clifford A Song for Wibb William Bennett (flute); Clifford Benson (piano) Camerata 30CM-338 [JPN]
Bizet, Georges Intermezzo from Carmen William Bennett (flute); Clifford Benson (piano) Camerata 30CM-390 [JPN]
Menuet from L'Arlesienne William Bennett (flute); Clifford Benson (piano) Camerata 30CM-338 [JPN] Camerata 30CM-390 [JPN]
Boehm, Theobald Duettino in D (No. 66) William Bennett (flute); Ursula Burkhard (flute); Irena Grafenauer (flute); Michel Debost (alto flute); Andras Adorjan (alto flute); Aurele Nicolet (alto flute) Orfeo C 018 821 A
William Bennett's website designed by Bongolugi design studio

redpajama_set_name: RedPajamaCommonCrawl


Suitable for laptops and tablets up to 13"
Rated 5 out of 5 by Hero101 from A Great Bag for a laptop 13" inch I like the bag quality for wax finish. The inside padded compartment is a plus to protect the laptop. I like the additional zip A4 format pocket inside. The pockets are closed by press button with an ingenious system that helps to close or open them. Overall very satisfied with this product. I would have like a bigger size for the handle.
Barbour Longthorpe Wax Laptop Bag - Navy is rated 5.0 out of 5 by 1.


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Germany & Eastern Europe
Rhine Valley All Inclusive
The treasures of the Rhine Valley
8 days From £749 per person
2022 Tour code: 22RIS
Discover the treasures of the Rhine Valley, from its attractive wine towns to its favourite heritage railways. This magnificent inclusive tour takes in the beautiful scenery and captivating culture of this delightful part of the world.
Cruise the iconic Rhine Gorge, sailing by pretty riverside towns, ancient castles and valley walls.
Discover the Ahr Valley, wandering through the picture-postcard village of Altenahr, and enjoy a tasting of locally-produced wines in Mayschoss.
Travel to the charming town of Cochem, where you have free time to stroll along the river or visit Cochem Castle.
Heritage Rail Excursion
VRM Travel Card for free local bus and rail travel
7 Breakfasts, 6 Lunches, 7 Dinners
Wine, beer, and soft drinks with dinner
Day 1 - London & Remagen
Meet at London St Pancras and board the Eurostar to Brussels. Continue via Cologne to Remagen, a charming town on the banks of the Rhine and famous for its railroad bridge's involvement in WW2. You spend the next seven nights at the Hotel Pinger, enjoying wonderful, all inclusive hospitality.
Day 2 - Remagen and the Peace Museum
Explore Remagen with a visit to the Peace Museum, located in the towers of the town's famous bridge. The bridge has a rich history; it was featured in several battles throughout the Second World War before the fascinating museum was opened in 1980. Immerse yourself in the bridge's history, as well as that of the nearby US prisoner of war camp, known as the Golden Mile, during your time here. After dinner join the group on a walking tour of Remagen, learning more about the town and its rich history.
Breakfast, Lunch, Dinner
Day 3 - Altenahr & Mayschoss
Take the train to Altenahr, an ancient village nestled in a valley and filled with fairytale architecture. You have free time here to stroll through the winding streets, lined with classic half-timbered buildings. Continue by rail to Mayschoss, a renowned wine town surrounded by endless vineyards that's famous in particular for its Pinot Noir grapes. There's an included tasting of local wines, after which you have the option to take a horse-drawn carriage ride (payable locally) - a truly enchanting way to see more of the sights. Or if you like, you could head out and get to know the town at your own pace.
Day 4 - Remagen
Enjoy a free day to explore more of your surroundings at your own pace. You may wish to take the train to nearby Boppard with your included VRM card. Once a Roman fort, the town has earned UNESCO World Heritage status for its history and outstanding natural beauty. Here, you could admire the 12th-century church, notable for its twin spires and stained-glass windows, or the remains of the original Roman city wall. This is also an ideal destination for those who love walking. Nearby, there are miles of walking trails which wind through the stunning surrounding landscapes.
Day 5 - The Rhine Gorge
Today takes you by rail to St Goar, where you board a riverboat for a scenic cruise along the iconic Rhine Gorge. One of the most spectacular sights along the Rhine, this striking stretch of water is dominated by the legendary Lorelei Rock, a dramatic rock which rises up out of the water. You pause at Rüdesheim, a quintessentially German town where half-timbered medieval houses, narrow streets, and old inns give a flavour of the Middle Ages. Enjoy time to take in the old-world charms. Be sure to stroll along the world-famous Drösselgasse, a vibrant street in the heart of the Old Town lined with quirky pubs, cafés, and wine cellars, before taking the train back to Remagen.
Day 6 - Cochem
Take the train to Cochem, on the banks of the Moselle River, where you have some free time to look around. The town is known for its historic castle and Old Quarter, where you'll find preserved sections of the town walls and three of the wall's gates. Like many towns in the area, Cochem is celebrated for its wines, with its local Moselle famous across Germany. Perhaps relax in one of the pastel-hued bars or restaurants lining the river, and sample some of this excellent wine for yourself.
You have another free day. Perhaps stroll along the river in Remagen, soaking up the natural scenic beauty of the town. Or further afield, you could head to Koblenz. Set at the confluence of the Rhine and Moselle Rivers and considered the historic gateway to the terraced vineyards and ruined castles of the Rhine, there's plenty to occupy yourself with here.
After breakfast, you take the train to Cologne, where you change for the service to Brussels. From here, join the Eurostar direct to London St Pancras.
Please note that while every departure of this tour will feature the same excursions, the order may differ from that shown above.
Hotel Pinger, Remagen
Extend your European holiday
4.6 / 5 · 38 reviews
Mrs L Long
Submitted 18 Nov 2019
Excellent value for money. Very well organised, friendly and helpful tour manager and lovely places to visit on the itinerary.
Collected by Rail Discoveries
Mr B Davies
Submitted 21 Oct 2019
Excellent hotel with friendly staff. Enjoyable excursions and friendly fellow travellers. Plenty to keep us occupied but with down time if needed.
Mr D Pinn
Submitted 12 Aug 2019
Excellent holiday, very well organised, the trips were well thought out and added to the experience. The hotel was a little tired and in need of updating, but food and staff were of a high standard. The only downside's were no air conditioning in hotel rooms we were there during the heat wave. In your booklet it clearly states air conditioning in bedrooms. The hotel opposite train station so very noisy during the night.
Mrs J Heath-Brown
Submitted 22 Jul 2019
Hotel management were unhelpful distant and on occasion rude to all the members of our group. From 8.45pm every 15 mins and all through the night freight trains with 30 carriages thundered through the station which was 10 yards from the hotel. The temperature was 28 degrees while we were there and we were refused tap water. The food was boring .
Mrs E White
I enjoyed all of the experience.
Mr K Waddington
All went well. There were some changes enforced by end of season closures and the Rhine being low on water, but adaptions were quickly made by the tour Manager so there enjoyment was not affected. Hotel was good, food good and very friendly staff.
Show 6 more reviews


The model S-5-14 T wins the award for the most machine for the money. This machine is often imitated, but never duplicated. For 30 years this machine has out-performed the competition. This model has a capacity for a 30" diameter basket, fixture, or cylinder. The cleaning span is 68" wide. Average cycle time for this model is 4 minutes.
This model has two impressive 10 horsepower motors. This is the most horsepower per cleaning area that we manufacture. That means very fast, aggressive cleaning! Couple it with our model CC dust collector and you have the most machine for the money!


Dumplin', starring Jennifer Aniston, hits select theaters and Netflix on Friday, Dec. 7.
When it came time to score the soundtrack for the new film Dumplin', there was no better person to enlist than country icon and Tennesee native Dolly Parton. The singer's music is a featured cornerstone of the main character's personality, as she uses the tunes for self-affirmation each and every day.
For the film, Parton revisited some of her biggest hits, while also combining forces with the brightest acts in music today. As the creator of the soundtrack, the "Jolene" singer called up Sia, Elle King, Mavis Staples, Miranda Lambert, Willa Amai, Rhonda Vincent, Alison Krauss, Macy Gray and DOROTHY for help on the tunes.
The story follows a young, overweight girl that goes by Dumplin' (Danielle Macdonald). After years of putting up with her mother's (Jennifer Aniston) Texas beauty pageant, Dumplin' decides to shake things up and enter the competition herself in hopes of revolutionizing the traditional pageant.
To celebrate the release of Dumplin' and the original movie soundtrack, Sounds Like Nashville is offering fans a chance to take home a piece of the film. One grand prize winner will be randomly selected to win a Dumplin' prize pack consisting of the soundtrack on CD, a t-shirt and a mug. One runner up will take home the soundtrack and a tiara.
Use the entry form below to enter for your chance to win!
Dumplin', starring Jennifer Aniston, hits select theaters and Netflix on Friday, Dec. 7. The original motion picture soundtrack is available now.


PVE and PVP have been rebalanced in Tree of Savior. New dungeons, new content! Now's your chance to get in on the action!
There are a lot of combat changes coming to Tree of Savior, and we have just some of them here!
Tree of Savior previews some of the changes it has planned for its combat system, coming in an new update soon.
Tree of Savior has some balancing on the way for three of their classes: Warlock, Cannoneer, Monk! Check it out!


Food Technology is a branch of food science that deals with the production processes that make foods. Food technologists work in the research of food and development to ensure that the food products are safe for consumption and are of good quality. Food technology covers all aspects of food science, including production, processing and distribution. Professionals in the field of food technology work to improve manufacturing methods through preservation, storage and developing new product. They work with food scientists to enhance the nutritional value of foods.
Some of the techniques for food preservation are spray drying, juice concentrates, freeze drying and the introduction of artificial sweeteners, colorants, and preservatives. Many products such as dried instant soups, reconstituted fruits and juices, instant noodles etc are manufactured which takes less time to cook and have good nutritional value.


These days it is pretty much essential that you have at least some level of skill with a computer. Whether you want some help learning how to perform basic tasks, or you are interested in learning more advanced computing techniques you could benefit from some one to one tutoring from a computer expert. You can find a range of new hyde park computer lessons suitable for people of any skill level to brush up on their computer skills. No matter whether you need to learn more about common software packages, or you want to learn more about programming you are sure to find a great local tutor when you browse some of the profiles listed below. These tutors all have extensive experience with computers and they are ready, willing and able to share that knowledge with you.
"Fun Grammar Nerd Specializing in Writing Skills for Business Success"
"A successful, young and experienced adjunct professor of Math"
Fran is a very good teacher, she's always on time and she is very patient and understanding with me as far as my knlowledge with computer goes. I made the right choice with Fran.
Jorge L. R., is a knowledgeable, capable engineering professional with a proven track record both in technology and business. He is very patient in his tutoring with me, and does not mind going over some of the material for a second time. I found his instruction very helpful in my Digital Fundamentals course, and will consider him if I were to need help with other courses.
"Engineering, Electrical/Electronics Technology, Computers, Business"
Salik reviews the lessons on the web before we meet and comes prepared each time.
Drew is bringing the joy back to learning math for my son. My son is a very bright kid but struggles with many of the Algebra 2 concepts. Drew in just two sessions has made the process of learning these concepts fun. Drew also has been so encouraging to my son and developing his confidence.


As Morgan Stanley Private Wealth Advisors, we combine our own talents and experience with the vast resources of a global financial services firm to address the planning, governance, liability management and investing needs of ultra high net worth families, their businesses and philanthropic enterprises. We take a holistic approach that is grounded in investment strategy, but covers virtually every aspect of your financial life: risk management, liabilities, trusts and estate structures and even family dynamics and lifestyle management issues. Our goal is to help preserve and grow your financial, family and social capital so that it can have the greatest positive impact today and for generations to come.
We look forward to learning more about you and your family, and discussing the resources we can place at your disposal.
at Goldman Sachs, covering Ultra-High Net Worth families and Institutions. His previous experience includes working as Trader for Manufacturers Hanover Trust and as Credit Analyst at Chase Manhattan Bank in Argentina.
Hernan obtained his MBA in Finance from The Wharton School of Business, University of Pennsylvania, in 1993. In 1989, he graduated with a BSc in Business Administration from Universidad Católica Argentina. Hernan is married and has 5 children.
Francisco Montes is a Managing Director in the Private Wealth Management division at Morgan Stanley and has a 27 year career in Finance. Francisco joined Morgan Stanley after 24 years of experience managing wealth for Ultra-high net worth individuals at Credit Suisse and Goldman Sachs & Co. Similar to Hernan, Francisco also received the Chairman's Club Award for 8 consecutive years at Credit Suisse. His previous experience includes working as a consultant for McKinsey & Co. in Spain, as a systems Engineer for IBM and as an account officer for Banco Sudameris in Argentina.
Francisco obtained his MBA in Finance from Wharton School of Business, University of Pennsylvania ,in 1992. Previously, he obtained his Accounting Degree (CPA) from Catholic University of Argentina. Francisco is married and has 2 children.
Jose Arredondo is a Senior Vice President at Morgan Stanley and has over 30 years of experience in the financial industry. Before joining Morgan Stanley Private Wealth Management, Jose was a Director for Credit Suisse in the US Covering Ultra-High Net Worth families in the Andean Pact and Caribbean Region. Previously, Jose worked 9 years at Atlantic Security Bank and 9 years at Chase Manhattan Bank. His experience includes wealth management, Corporate Banking, Investment Banking and Treasury.
Jose obtained his MBA in Finance from Wake Forest University. Previously, he graduated as an Industrial Engineer from Universidad Católica de Peru.
Jose is married and has 3 children.
Francisco Carrera-Justiz is a Managing Director in Morgan Stanley Wealth Management focusing on the Latin America and Caribbean Region. He joined Morgan Stanley in March, 2016 after having served as Director at Credit Suisse Securities USA for 17 years. Francisco helped develop the Latin America Private Banking business while at Credit Suisse. Prior to that, Francisco worked with Chase Manhattan Bank for 9 years at the Private Bank in New York, Geneva and Miami. Francisco is a graduate of the Chase Management Training Program in New York in 1990 and received his Business degree from the AB Freeman School of Business at Tulane University. Francisco serves as a member of the Board of Directors of Bacardi Ltd., a private held family spirits company.
Anna Sobczyszyn is the analyst of our team. Her responsibilities include but are not limited to trading of Domestic & International securities as well as Bonds & Mutual Fund Trading. In addition to Morgan Stanley?s fund due diligence, Anna analyzes Mutual Funds and frequently meets with fund managers. Furthermore, she prepares client performance reports and materials for client meetings. Prior to joining Morgan Stanley, Anna worked in Santander Private Banking conducting research and analysis within financial institutions and alternative investments teams. Anna holds Series 7 & Series 66 Licenses. She graduated with a Bachelor in Finance from Florida International University in Miami.
Yeimi Marfil is one of two Client Service Associates for the team. In her position, she manages all the required administrative duties like account openings, wire transfers and security transfers. She has over 8 years of industry experience. Prior to joining Morgan Stanley, she worked at Wunderlich Securities as a Client Service Associate and at Capital Guardian LLC as a Operations Specialist. Yeimi holds a series 7 license and graduated from Miami Dade College in 2013.
Silvania has been with the team for over 20 years and has over 25 years of experience in the industry. She is an essential bridge between Advisors, Clients and the Client Service Associates. Prior to joining Morgan Stanley, she was an Assistant Vice President at Credit Suisse for 13 years. Between 1996 and 2001, she worked with the team serving Ultra High Net Worth Clients in Latin America at Goldman Sachs. Silvania obtained her associate degree from Nassau Community College in Long Island New York and holds a Series 7 & Series 66 license.
Alessandra has over 9 years of industry experience. Previous to Morgan Stanley, she worked at Credit Suisse as a Relationship Associate, EFG Capital as an Institutional Sales Assistant and at Macquarie Capital as a Middle Office/Operations associate. Alessandra, along with Yeimi, manages all the wire transfers, security transfers, and account openings for the team. Alessandra holds a Series 7 license and graduated from Florida International University in 2012 obtaining a degree in Finance.


If anyone were able to handle having his first day as a Yankee delayed by bad weather, it figures it would be Eric Hinske, whose job is going to entail a lot of sitting and waiting.
Hinske was acquired Tuesday from the Pirates as a multi-position backup, playing here and there, and then and again. The Yankees liked his resume and a rare blend: mature enough to recognize he won't play very much yet savvy enough to be productive when he does play.
The new Yankee likely will be Alex Rodriguez's replacement when he takes his now-requisite one day off a week. Hinske also can play first base, leftfield and rightfield.
"He can come off the bench and pinch hit. He has been on playoff teams, World Series teams," manager Joe Girardi said, speaking for his new player because Hinske was stranded at the Pittsburgh airport. "He does know the league and he knows the brand of baseball that's played here. We feel he's a tough player and we like his credentials."
The Yankees gave up two minor-leaguers, pitcher Casey Erickson and outfielder Eric Fryer, for the 31-year-old lefthanded batter - former regular for the Blue Jays - in a deal that also brought the Yankees some cash.
General manager Brian Cashman had said recently that the Yankees were not in the market for a bat, but the team's outlook changed when it was learned that Xavier Nady needs surgery and will be out for the season.
So the Yankees have the player who made the final out in the 2008 World Series. The bright side is that he was in the World Series for the second year in a row, having won a ring as a fill-in for the Red Sox in 2007.
Hinske played well for the Rays last year, totaling 20 home runs. He was the Opening Day rightfielder and later was the regular leftfielder when Carl Crawford was injured. But when Crawford returned for the postseason, Hinske was squeezed out. He didn't even make the roster for the American League Championship Series or World Series.
Still, the Rays admired his attitude as he kept practicing. "You know that you have no chance to get in the game that day, but you have to be professional about the situation," Hinske said at the time.
When Cliff Floyd was injured during the Series against the Phillies, Hinske was activated for Game 4 and hit a pinch home run.


What You Should Know Before You Hire a Video Production Company.
In the world today the benefits of video production have been in favor of commercial and promotions as they use most of video production services. The video production industry has helped the way people advertise their products and services or the way they, make the awareness of their products and promoting them.
You can be an advertising manager or a promoter and you want a video or video production services so that you can advertise or promote your products but you don't have the necessary knowledge on hire a video production company.
Hiring a video production company is not an easy thing that you will just do if you are not conversant with the process, so get some few points that you can use will prove to be very handy for you in hiring these companies.
Therefore you should know some things before you hire the services of the video production which includes the following. Before you hire the company it is good that you know what they do and the videos that they produce so that you can save time if they don't produce as per your need.
It is important before you engage further with the company that you take time to see what the company has done in the past by going through their work so that you can get a general view of what and type of work they do so that you can make a decision if you will be choosing the services of this company. You can talk to the previous clients of the production company, in an interview with the company you can ask the company to give you the contacts of the previous clients and if they agree you can go on and interview some so that you can know their opinion on the company.
Before you hire a video production company it is very important to know their best interest and general willingness in helping you to meet your needs since you want a company that will not only complete your project but also offer the best services to suit your needs. You should factor in the cost aspect, if you know the price you will be able to plan for it or make a decision if you can work with it or not.
If you know they are willing to see that they offer the best services by going an extra mile will help you to know how well they will be of help to meet your needs.
It is important that you get answers to the various issues that you have raised as this will help to know the suitability of the company in the production of your video.


Do you love fajitas? Why not make your own! This simple and delicious Zesty Steak Fajitas recipe will have your family coming back for more!
You know how much my Michael loves a good deal on meat. So when he saw one pound packages of thinly sliced steak for $1.69, he was so excited it was literally all he could talk about for days! And he knew exactly what he wanted to make.
I had never even thought of making our own fajitas, but Michael insisted that was just exactly what we needed to do.
So, I have to credit this yummy recipe to my dear husband and his love for food.
Start by cutting your steak into thin slices.
Now you need to slice your onion half into thin slices. After my victory dance regarding the peppers, Michael left me to slice the onion myself. Victory over. I can't stand slicing onions. I can run cool water over the onion while I slice it and my eyes still burn like mad. Lesson learned…have the hubs slice the onion BEFORE I gloat over slicing peppers better than him.
Back to the recipe…combine all of your spices…cummin, garlic powder, onion powder, salt, crushed red pepper and black pepper…really well.
Next put your steak slices, peppers and onions in a bowl and toss with spice mixture.
Then put your olive oil in large, deep skillet and cook steak, peppers and onion over medium-high heat until the steak is brown and onion is tender.
Serve 'em up on warm tortillas!
The smell of these were amazing and the taste was just as mouth watering! Kudos to Michael!


Klaidi Sahatci is the first Concertmaster of the Tonhalle-Orchestra Zurich and professor at the Conservatorio della Svizzera Italiana in Lugano. Born in Albania, he began his musical studies at the age of six. In 1992 he moved to Italy where he was admitted at the Conservatorio Di Musica G. Verdi in Milan and studied with Salvatore Accardo at the Walter Stauffer Academy in Cremona.


text:
Natural history for art collectors
Galleries are finding enthusiastic buyers for naturally created 'objets'
A gogotte from France, naturally formed of limestone, 64cm high by 100cm wide, sold by Eskenazi last month
Emma Crichton-Miller
Around 220AD a large black conical meteorite was transported to Rome from Syria. The young emperor Marcus Aurelius Antoninus Augustus ordered it installed in a grand temple on the Palatine as a symbol of the sun god, Elagabal, replacing Jupiter in the pantheon. Here, according to contemporary Roman historian Herodian, "This stone is worshipped as though it were sent from heaven."
Meteorites have inspired wonder since the ancient world, and natural history objects were displayed alongside fine art in cabinets of curiosity throughout Renaissance and Enlightenment Europe. Today, these natural phenomena are again finding new admirers among art collectors. In May, Eskenazi, the Mayfair gallery specialising in Chinese art, broke from tradition to mount a show of gogottes (priced $15,000-$100,000). These highly sculptural swirls of sandstone, looped, squeezed and folded, which look as though extruded by machine, were formed 30m years ago in ancient sand dunes near Fontainebleau in France. How they were made is still being puzzled over by geologists and, as David Attenborough put it in his catalogue essay, "It will need an art historian and perhaps a psychologist to explain why the wonderful mysterious shapes so bewitch us."
One particularly unusual gogotte, with a double spike, was a highlight of Christie's first dedicated Natural History sale, entitled "Sculpted by Nature: Fossils, Minerals and Meteorites", held at its King Street headquarters in April. Estimated at £3,000-£5,000, it achieved £12,500. The sale included fossils, skeletons, fragments of meteorite and geological specimens, with the top lot, a beautiful double fossil Sea Lily plaque, fetching £22,500.
While these prices are still modest in comparison with the sums paid for antiquities and fine art, James Hyslop, Christie's specialist, reports that, "over the past five years, Natural History has just boomed." A breakthrough moment for him was the sale in October 2016, where a particularly fine collection of five gogottes saw prices rise to £43,750, on one lot estimated at £6,000-£8,000.
It will need an art historian and a psychologist to explain why the mysterious shapes so bewitch us
Rather than relegating natural history objects to specialist sales and fairs, dealers and auction houses are repositioning them alongside fine art. At Masterpiece this year, Finch & Co, the eclectic dealership specialising in curiosities, is displaying antiquities and ethnographic objects alongside natural history, including three 19th-century leopard tortoise shells from Kenya, among other animal objects. Only antique pieces, from non-endangered species, of course: everything is approved by the UK's Animal and Plant Health Authority — although export to some countries can pose difficulties.
They are joined at Masterpiece this year by ArtAncient, a young dealership specialising in antiquities but with an interest in spectacular natural objects. "As we have started to take these objects to art fairs, people have responded to them as to other forms of art," explains Costas Paraskevaides. "The question of the artist's original intention is meaningless anyway, when it comes to fragments of Attic sculpture or a green-patinated, rust-encrusted cuirass."
A giant palm frond fossil, 50m years old, found in Wyoming, US, and showing at Masterpiece with ArtAncient © Courtesy of Art Ancient
ArtAncient has recently bought a number of objects from a major US collection, some of which it will show at Masterpiece, including a dramatic large fossilised palm frond (£90,000) and a Sikhote-Alin meteorite, which in its rapid tumble through the atmosphere developed sculptural, scooped "thumb" prints on its iron surface (£90,000). As Paraskevaides explains, "This is an immature market. We are trying to exercise high standards regarding condition and beauty. It is about making an aesthetic judgment and separating the best from the rest."
Follow @FTLifeArts on Twitter to find out about our latest stories first. Subscribe to FT Life on YouTube for the latest FT Weekend videos
Get alerts on Collecting when a new story is published


Trunks product range are fairly low-maintenance, easy to clean and to care for. Regular maintenance conserves value and extends the lifespan of our products. To care for the glass within the doors we recommend the follows as no one like dirty glass surfaces, they can be cleaned wet with water, sponge, cloth etc.
Common glass cleaners without scouring agents may be added to the water. Persistent stains such as paints or tar droplets should be removed with methylated spirits, acetone or petroleum ether. The glass surface should then be cleaned wet again. Metallic items (eg. razor blades, Knifes, steel wool) must not be used on trying to remove paint droplets!
At Trunk we also recommend that you do not use alkaline cleaning products, acids or cleaning agents containing fluoride to clean the glass surface. Be sure to protect the glass surface with suitable cover foils from plaster splatters, cement, untreated concrete surfaces, fire cement boards, for example when redecorating.


*This is the last of two writings exploring art critic Dave Hickey's Air Guitar. The 1997 classic book contains twenty-three essays. From a music critic and art dealer's perspective, the "fables" investigate the relationship between Art and Democracy. The past provides insights for the future.
The literary chops of art critic Dave Hickey deliver in Air Guitar. It had been many years since my last encounter with the book of twenty-three formidable essays. Hickey's masterful critical thinking skills make any dull thought sharp. One can only hope and wish to be a contender someday.
The Dealing essay describes Hickey's dissertation: "Specifically, I wanted to encode literary manuscripts in sequential states of revision-to discover just exactly what could be said, on good evidence, about authorial intentions." His concept was rejected by an academic structure unable to support new creative input. Hickey ultimately quits school at twenty-six and opens A Clean Well-Lighted Place art gallery inspired by the Hemingway short story.
Art without an exit strategy fails.
Can society appreciate objects, people, and diverse artistic outputs without assigning monetary value?
No wonder artists reconcile bills, responsibilities, and society in an attempt for free speech and expression. Like a fortune-teller, Hickey foreshadows this sentiment from the past for today. Time will verify if the infrastructures in charge of assigning value can survive greed drunk on power.
Air Guitar reads like Twitter: a continuous mental feed and reminder of its 1997 publication flashes at each page's turn. This is how we were, are now, and could be in the future. Life's peregrinations extend, meandering back to what is true. No apologies needed here sir, only art.


Let's face it. There are not too many positives to Monday mornings. You're probably worn out from the weekend, and the thought of digging in for an eight hour work day is giving you the chills. We do have some good news for you though. With Monday comes new music and with new music comes a little ray of sunshine for the start of your week.
LA-based Steffaloo (Steph Thompson) recently released the second single from her collaborative electronic album Heart Beats.Teaming up with Windy City native Different Sleep, they dialed in a dreamy pop song that slowly drifts through layered atmospheric elements, and calming percussion.
With the minimalist sound of "Shoulda Known Better," we were anxiously awaiting a few remixers to pull out some elements and create something that is both complimentary to the original and something entirely unique. Enter Bear Mountain, who hail from one of this writer's favorite cities in the world, Vancouver. You're probably familiar with this four piece from their blogosphere smash hit, "Congo." Taking a departure from their worldly sound that we all fell in love with on that release, they've dialed up a sultry dance tune complete heavy deep house elements, chopped up vocal samples and a pronounced bassline.


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text:
Cyanocorax beecheii е вид птица от семейство Вранови (Corvidae).

Разпространение
Видът е разпространен в Мексико.

Източници

Cyanocorax

redpajama_set_name: RedPajamaWikipedia


Letting emerge a 'spontaneous association', seems to be one of the easiest things to do. But what exactly is a 'spontaneous association'?
Is every thought ultimately a 'spontaneous association', or is there qualitatively more in the game?
'Spontaneous' is gradual of course.
and then an even more spontaneous association, and then an even… This is a very good exercise, highly recommended. A small warning however: don't get discouraged if you do not really 'succeed'. Besides, how could a 'spontaneous' association ever 'succeed'? After all, if it is something that needs to 'succeed', it is not spontaneously anymore. There it already ends then. Or it starts. This is no child's play. Or is that exactly what it is?
It seems the most normal thing in the world and that is also the case, in the sense of 'normal' as the deepest of what we really are. At the same time, this is also NOT normal at all in this world.
It's ultimate creation, the simplest and at the same time the most difficult to do, start-point and end-point of the universe. This is here and always and everywhere and now the point of 'transition'. To show it a little bit off against almost nothing, you may safely say: it is as good as everything.
But if an association is totally not a spontaneous one, you fall by the wayside. Poems are then pure information. Sea becomes water in a well. In the difference you also find the difference between ego and deeper self.
In spontaneous associations you meet your deeper self.
Very interesting in spontaneous association is that the meaning of 'for you' can get a fundamentally different aspect through this.
Dancing becomes dancing. Thinking becomes thinking. Doing becomes doing and not-doing becomes not-doing. Being becomes being.
Dancing with a partner can be great fun if the partners are very interrelated, if they feel their way towards each other 'from within'. This is infinitely more than just taking some dance steps.
Spontaneous association is dancing with the deeper self.


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Home : People : Javier Salinas, JD, MBA, LLM
Salinas, JD, MBA, LLM
Managing Director, International Tax
JSalinas@bpmcpa.com
Javier is a distinguished international tax lawyer and advisor. Clients rely on Javier when navigating complex cross-border tax planning and structuring multinational operations. His clients range from start-ups to global multinational companies in a wide spectrum of industries, including technology, cryptocurrencies and digital assets, e-commerce, FinTech, life sciences, and traditional manufacturing and distribution.
Javier's unique perspective and expertise derives from his experience working with companies in major markets throughout the country and his background working with premier tax offices and agencies of the Federal Government in Washington, D.C., including the U.S. Tax Court, the IRS Office of Associate Chief Counsel (International), and the U.S. Treasury Department. His profound understanding of tax administration and policy, as well as statutory and regulatory interpretation, in addition to his years of experience working with Ernst & Young's National Tax Department, gives Javier's clients great satisfaction and peace of mind knowing they are structured and operating in a tax-efficient manner. His comprehensive perspective on global tax planning and compliance considerations serves companies of any size and stage of their life cycle.
Javier identifies the relevant tax considerations and presents well-reasoned positions and alternatives to allow companies to make well-informed strategic decisions considering the tax impact to operations and the company's success. In today's global market place, companies must consider a myriad of developments concerning global tax policies, initiatives, and rules, such as the OECD's BEPS Report and the significant overhaul of U.S. tax legislation in the TCJA. Concerning these and other developments and considerations, Javier works closely with and acts as a trusted advisor to C-Suite management on tax matters affecting strategic decisions. This advice may involve tax modeling and quantitative analysis to help companies determine the tax impact of certain supply-chain activities and cash-flow impact, or to anticipate tax impact of transaction step alternatives as companies expand and consider lifecycle events such as entering new markets or strategic acquisitions or divestitures. Having worked abroad supporting multinational corporations in Mexico City and in Paris, Javier understands cultural nuances and can support clients in multiple languages to deliver a tailored and effective product and efficient experience to clients.
As an expert in international taxation, Javier also serves as an Adjunct Professor in the Master of Laws (LL.M.) in Taxation Program at the University of San Francisco School of Law, and formerly in the Masters of Science in Taxation (MST) Program at Golden Gate University. He speaks frequently at both internal firm trainings and external seminars.
Licensed Member of the District of Columbia Bar and State Bars of California and Texas
District of Columbia Bar, Member, Board of Governors (2008-2012), and Secretary (2008-2009)
Hispanic Bar Association of the District of Columbia, Member (2007-Pres.) and Treasurer (2007-2011)
Extensive experience assisting multinational companies in various industries such as technology, manufacturing, food and beverage, real estate and automotive with respect to U.S. and Mexico tax and non-tax issues
Former leader of Grant Thornton's (GT) Mexico Tax Desk which included the management of collaborative tax technical initiatives with GT's offices in Mexico
Former Attorney-Advisor with the IRS Office of Associate Chief Counsel (International) in Washington, DC, with significant experience interpreting the Mexico-U.S. Income Tax Treaty and the Mexico-U.S. Tax Information Exchange Agreement, representing the U.S. Competent Authority on treaty matters with SAT/Hacienda
Former Law Clerk at Von Wobeser y Sierra, S.C., in Mexico City
Former Stagiaire at the ICC International Court of Arbitration, Latin America Team, in Paris, France
Graduate of the University of Houston Mexican Legal Studies Program in conjunction with la Universidad Nacional Autónoma de México, Facultad de Derecho, in Mexico City, for coursework in Mexican Constitutional Law, Mexican Foreign Investment Law, and NAFTA
Javier Salinas Speaking at U.S-Mexico Bar Association's Annual Conference
What business owners need to know about the new tax reform
Javier Salinas and Michael Santos Present at LEA North American Conference
ITAX Client Case Study with Modeling 06.04.18
LEA: 2018 Spring North American Conference
Javier Salinas and Michael Santos Win Second Place in the USMBA's 2017 Writing Competition
Understanding the New U.S. Tax System
San Francisco Business Times, Table of Experts 02.16.18
Upcoming Due Date for Reporting Withholdable Payments Made to Foreign Persons
Senate Finance Committee Releases Tax Reform Plan
House Ways and Means Committee Releases Tax Reform Bill
IRS Continues to Crack Down on Corporate Inversions
B.A. – The University of Texas
J.D./M.B.A. – University of Houston Law Center and College of Business
LL.M. in Taxation – Boston University School of Law


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Four Sons of Nawrūz Khan of Lalpoora
This photograph of four sons of Nowruz Khān, ruler of Lalpura, Afghanistan, is from an album of rare historical photographs depicting people and places associated with the Second Anglo-Afghan War. The young men are wearing handsome traditional Afghan garments and pointed shoes called paizaar, usually adorned with gold-thread embroidery. The photographer, John Burke (circa 1843–1900), accompanied the Peshawar Valley Field Force during part of the war, and became one of the first photographers to take pictures of Afghanistan's people, rather than simply of military personnel. The khan was the most important chief of the Pashtun Mohmand tribe living in the hill country northwest of Peshawar and a rival of Amir ʻAbd al-Raḥmān Khān. The Second Anglo-Afghan War began in November 1878 when Great Britain, fearful of what it saw as growing Russian influence in Afghanistan, invaded the country from British India. The first phase of the war ended in May 1879 with the Treaty of Gandamak, which permitted the Afghans to maintain internal sovereignty but forced them to cede control over their foreign policy to the British. Fighting resumed in September 1879, after an anti-British uprising in Kabul, and finally concluded in September 1880 with the decisive Battle of Kandahar. The album includes portraits of British and Afghan leaders and military personnel, portraits of ordinary Afghan people, and depictions of British military camps and activities, structures, landscapes, and cities and towns. The sites shown are all located within the borders of present-day Afghanistan or Pakistan (a part of British India at the time). About a third of the photographs were taken by Burke, another third by Sir Benjamin Simpson (1831–1923), and the remainder by several other photographers. Some of the photographs are unattributed. The album possibly was compiled by a member of the British Indian government, but this has not been confirmed. How it came to the Library of Congress is not known.
1878 Afghanistan Nangarhar Lalpura Afghans Afghan Wars Headgear Group Portraits Pushtuns Turbans Photo WDL 011128


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com.hazelcast.map

Interface MapEventPublisher

public interface MapEventPublisher

Helper methods for publishing events.

See Also:

MapEventPublisherSupport

Method Summary

Methods

Modifier and Type
Method and Description

void
publishEvent(Address caller,
            String mapName,
            EntryEventType eventType,
            Data dataKey,
            Data dataOldValue,
            Data dataValue)

void
publishMapEvent(Address caller,
               String mapName,
               EntryEventType eventType,
               int numberOfEntriesAffected)

void
publishWanReplicationRemove(String mapName,
                           Data key,
                           long removeTime)

void
publishWanReplicationUpdate(String mapName,
                           EntryView entryView)

Method Detail

publishWanReplicationUpdate

void publishWanReplicationUpdate(String mapName,
                               EntryView entryView)

publishWanReplicationRemove

void publishWanReplicationRemove(String mapName,
                               Data key,
                               long removeTime)

publishMapEvent

void publishMapEvent(Address caller,
                   String mapName,
                   EntryEventType eventType,
                   int numberOfEntriesAffected)

publishEvent

void publishEvent(Address caller,
                String mapName,
                EntryEventType eventType,
                Data dataKey,
                Data dataOldValue,
                Data dataValue)

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text:
ENTDECKENBIBLIOTHEK
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rolling with the changes
This issue's two big feature stories have a common underlying theme, and one that is particularly relevant as we say goodbye to 2020 and roll into the new year. That theme is change—and how unexpected it can be. That's a good theme to close out what has been the most unexpected year in many of our memories. But looking at these two stories we are reminded how change—even unpredictable change—can be a glorious thing. Take our story Bargain Muscle Cars on p18. It chronicles how, when Detroit introduced their first affordable compact cars in 1960, that performance was the furthest thing from their minds. And yet, within just 2-3 years, some of those uninspiring econoboxes had evolved into a new enthusiast niche. Within 5 years every one of those manufacturers…
A Silver Screen Giant in Giant Scale Eaglemoss Die-Cast Club Goldfinger Aston Martin DB5 1:8 scale | $950 (est) The Aston Martin DB5 that first appeared in the third installment of the James Bond franchise has been touted as the most famous car in the world. Certainly, it is the most famous movie car, and it has returned in various forms to appear in seven more Bond films (including the forthcoming No Time to Die.) But it is the first version, from Goldfinger, that collectors love best—both for its classic British looks and for its brilliant array of gadgets. This 1:8-scale kit-built DB5 from Eaglemoss's Die-Cast Club has both of those virtues too. Like the Willys-Jeep featured on page 62 the Bond Aston is a build-it-yourself kit that arrives in a total of…
bargain muscle cars
Throughout most of the 1950s, as America's economy boomed, the auto industry's fortunes soared right along with it. Record-setting sales numbers were accompanied by a growing consumer appetite for larger, more stylish, more feature-laden cars that projected prosperity. Domestic manufacturers were happy to ride that wave of success; advances in engine technology and the proliferation of large, powerful V8s meant that performance became a luxury commodity—available to customers who could afford the premium it commanded. But as the decade drew on the economy started to soften. In 1957 car sales slowed as recession loomed; just about the time the '58 models started arriving at dealerships, the bottom fell out. Many of those big, extravagant models now sat unclaimed on dealer lots. Execs at the Big Three realized they had been…
auto world american muscle 1970 plymouth duster 340 vs chevrolet nova ss 396
1970 was a big year for big-engine, big-money muscle cars, and Detroit's Big Three were locked in a power struggle. Halo models like the Hemi and Six Pack Mopars, the GTO Judge, Ford's Bosses and Cobra Jets, and Chevy's new big brute the SS 454 fought for bragging rights on the streets, at drag strips, and, in the allimportant dealer showrooms. High horsepower was key, but increasingly the battle was as much about image as timeslips. Panache mattered at least as much as performance, so graphics got bolder, equipment lists got longer, and sticker prices skyrocketed as fast as horsepower ratings! That and increasingly hefty surcharges from insurance companies were pricing many customers right out of the muscle car game. Affordable alternatives were sorely needed. One of the first to answer…
the complete book of corvette: every model since 1953
The Corvette is known the world over as "America's Sports Car." With eight generations spanning seven decades, the Vette has a lot of history behind it and there is much to learn—and much to celebrate—about this iconic machine. As the title of the book by Mike Mueller makes plain, The Complete Book of Corvette: Every Model Since 1953 is here to help readers do both. Newly revised and updated to include the 2020 C8 Corvette, this volume provides excellent context on how the Vette has evolved into the world-class supercar that it is today. Many of us are familiar with the broad strokes; how the Father of the Corvette, Zora Arkus-Duntov, took Chevy's stylish little 6-cylinder runabout and honed it into a proper performance car with the addition of the small…
maisto 2020 chevrolet corvette stingray
Few automotive redesigns have been awaited with as much anticipation—or as much controversy—as the 8th generation Corvette (the C8 in Vette-speak.) Enthusiasts eager to see "America's sports car" finally be able to take on world-class exotics on even footing heralded the C8's revolutionary design feature: an engine that has been relocated behind the driver. Purists saw such a move as heresy—abandoning 65 years of American tradition of carrying its thumping V8 in front. Ultimately engineers and marketing strategists chose performance over heritage and swapped places between man and motor, mirroring the mid-engine layout favored by marques like Ferrari, Lamborghini, and McLaren. But mimicking greats does not automatically make one great; Chevy still had to execute on the new design philosophy, and at the same time imbue the new car with…
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Music is a Vehicle for Perceiving
The author, poet and curator Anaïs Duplan shares a thoughtful insight into his recent essay, explaining how he strives to create community and understanding through his work
Photography by Ally Caple
How did you get to where you are today?
I was born in Haiti, i came to the Unites States around H3 and, besides a three-year stint living with my mother in Havana, Cuba, I've mostly been on the East Coast, between Boston and Brooklyn. I went to school as an undergrad at Bennington College, which is where I teach now, and I studied poetry and socio linguistics. Then I went to grad school for poetry at Iowa Writers' Workshop. I was working for visual artists before I went to Bennington, and I transferred from there to RISD art school, and realised that I preferred working for artists than making art myself.
Even though I've worked mostly as an arts worker at different arts organisations, I draw a lot of inspiration from visual artists – Black digital media artists both within visual arts but also music. I had a music journalism period, and I draw inspiration from that in my teaching. I'm a post-colonial literary professor at Bennington, and it's pretty cool to be teaching where I went to school. It's a cool way to incorporate some of my background as an artist worker.
What inspired you to become an author, poet and curator? Do you remember the first thing you ever wrote?
I do not remember the first thing I ever wrote, but I will say that, because I transferred to Bennington from another school, I was loafing around for a while between disciplines. Bennington doesn't really have majors – you can create your own course of study. So I left the visual arts, so to speak, or realistically it just wasn't what i wanted to do. I was doing sociology and anthropology and realised I had an interest in language and those areas, so I was hovering around socio linguistics and discourse studies for a while. It was in that moment that I took a poetry class on a whim, and to get into class you had to apply with a packet of poems and I remember scrounging around on my computer trying to see if anything looked remotely poem-like. I found some old diaristic journal writing and put it into some stanzas and I got in. I was surprised to find my professor Michael Dumanis, who I teach alongside at Bennington, saw potential in my work and encouraged me to pursue poetry. I thought it was crazy, but here we are.
What drives your writing? Are there any specific elements, moment or experiences that influence you to pick up a pen and paper?
When I first started writing, it was a lot about having the space to say and think about things that I felt like I didn't have in the rest of my life – in particular thinking about family dynamics, selfhood, relationships, gender, sexuality and all of that. Later on, I became really interested in writing about work that other artists and writers in my community were doing and my arts worker career path joined with my writer path.
What compelled you to write your essay, Music is a Vehicle for Perceiving (Or, a Foundation for Artful Intervention). What narratives are you hoping to share?
I became interested in writing work in conversation with my community. With the essay Music is a Vehicle for Perceiving, the piece's statement is in the title; it's an essay that I hope folks will try to read musically rather than try to read intellectually. By that I mean there's a body and lineage of Black writers – Édourard Glissant, Fred Moten, Simone Wright to name a few – there's a bunch who are in this space between poetry and theory. When we're the space of the poem, we expect to read for affect and emotion; how does this part make me feel? But then, when we get into the world of theory or prose paragraphs, we switch into this way that we've been tried to read, which is more of a white, western hierarchal form of knowledge production where there are experts and people who don't know. If instead we operate through this idea from Glissant, "to consent not to be a single being", then we're starting from a plan of already being in a community and already being understanding of one another. Then the writing is just an opportunity to perceive one another and to be together, like a relationality. The essay was about trying to write in a way that was inspired by those writers who I saw doing more affect-driven theoretical writing.
What's your personal relationship to music like?
I love music – I don't make it and I've never really tried to make it, except I had an acoustic guitar in high school. I respect music and musicians a lot, and I'm very sensitive to sound which serves the practice of poetry. I hope that the audience will respond to the essay by reading musically, perhaps feeling a sense of relationality, community or finding resonance with the piece – in particular feeling a sense of permission for affect and emotion rather than reading with the mind.
How do you hope your audience will respond to this essay, what can they learn or feel?
A main goal of mine as a writer is to try to write work that gives people permission to operate through the intelligence of the emotions. I don't write fiction, I wish I could; I have a lot of respect for fiction writers. But in terms of poetry and essay, and the space in between – which I've been playing with lately – I would definitely say that's a prime space for exploring what it means to understand information through the emotions rather than through the mind.
What's next for you, any upcoming plans or projects?
Coming up next, I am writing a book for an academic press on the history of Black experimental documents. It's my first time writing a book for an academic press, so I'm excited to try to explore the tension in the space, staying true to my poetry background but also writing prose that will work for a more academic audience.
An extract of Music is a Vehicle for Perceiving can be read here.
Acting Class
My Bear Can Talk
Nights of Plague
All Down Darkness Wide


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