Tell me about your nose. What does it look like? How is it shaped?
If you like your nose—if you're content with the appendage hanging from the front of your face—then you'll probably have to think for a minute about how to describe it.
If, on the other hand, I asked you to tell me about your eyes, or the eyes of the person nearest and dearest to you, you'd probably launch into an immediate and detailed description— the color, the shape, the curve of the brows, the subtle way they change with a smile or a frown.
The eyes are the first thing we notice when we look at a human face. The nose, for all its front and center presence, is barely in the picture. But there's one exception—and it's a big one.
If you don't like your nose, then noses—yours and others—get top billing when it comes to looking at your face and the faces of others. And if I ask you to describe your nose, the nose you dislike, you'll be able to speak at length about it without a second's hesitation. You'll have ready opinions about noses in general. You'll be a nose expert. You might be like Susan, who, dismayed by her own nose's slight dorsal bump and droopy tip, developed a nose for noses.
Patient Jillian, whose crooked nose got even more crooked after a competitive downhill skiing accident, reported being unhappy with it since her teens. "I felt self-conscious when people looked at me from the side as I thought my nose looked ugly," she says.
When a patient comes in to see me about rhinoplasty in Toronto, I'll say that most people don't talk about their noses very much. Most might say that John or Susie has nice-looking eyes or a great smile or nice hair, because those are the things that you notice first. They like their noses and take them for granted. But then I'll say, "I know you notice noses a lot because you're looking at noses and thinking, 'That's a nice nose. I wouldn't mind a nose like that' or 'Gosh, I wonder why she doesn't get her nose done. It looks so unattractive.'" And every one of them will tell me that this is exactly how it is.
If someone dislikes his or her nose when they're young, he or she will dislike it to the day he or she dies. It doesn't mean that he or she has to have rhinoplasty, but he or she won't grow out of it. And that's why we see ourselves doing rhinoplasties even on fifty-, sixty-, and seventy-year-olds. On the other hand, if someone comes in at the age of fifty or even younger and says he or she has only disliked his or her nose for six months or a year, that's a red flag for me. There may be something else going on in that person's life that rhinoplasty won't fix.
Rhinoplasty can make your nose smaller and narrower (or bigger and wider, for that matter). It can make a crooked nose straighter. It can remove bumps, reshape the tip, and change the angle between the nose and the upper lip. If you've ever broken your nose, if it has collided with a door, a hockey stick, or anything else, you may have problems breathing through it. Rhinoplasty can correct that too. In short, a nose job can work wonders.
A lifetime of self-consciousness about a nose that somehow isn't right—that you believe causes others to look down their noses at you—can set off a cascade of consequences.
As a high schooler, Kimberly wanted to be a trial lawyer but, because of her nose, couldn't bear the thought of standing up and arguing a case in front of a courtroom full of people. Later, when her marriage hit the rocks, she found a way to blame it on her nose.
Next we highlight Famous Noses of History!


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RTV founder Taya Rtichsheva is camera ready in Winnipeg
February 15th, 2019 Rebeca Kuropatwa Featured, People, Professionals comments
Taya Rtichsheva is the perfect picture of an immigrant who found ways to prove any and all of her doubters wrong.
Born and raised in Pavlodar, Kazakhstan, Rtichsheva was a very active child, getting hooked on rhythmic gymnastics at the age of five and later taking classical guitar lessons, before discovering her passion for journalism. She graduated from the University in Russia with an honours bachelor degree in journalism.
In 2011, Rtichsheva immigrated to Canada with 10 years of journalism experience under her belt. But she discovered early on that her experience became a hindrance, as employers deemed her to be overqualified and without connections in an industry heavily dictated by "who you know" as opposed to "what you know."
"So, I decided to volunteer in different organizations to obtain Canadian experience and build a professional network," says Rtichsheva, who settled in Winnipeg, Manitoba.
Volunteering creates opportunities for newcomer Rtichsheva
Through her volunteering with Shaw TV, doing community-related media segments, Rtichsheva realized that there was a big void in ethnic TV shows in Manitoba. So, she approached Shaw TV Spotlight with her idea of introducing Russian-speaking community segments, which led to her founding the Canadian Russian language television network, RTV, in 2016.
"Currently, there are more than 30,000 Russian-speaking people living in Manitoba," says Rtichsheva. "It is important to develop ethnic media to help immigrants stay informed and to give them a chance to be heard.
"Being an immigrant, I faced many challenges — language barriers, discrimination based on place of origin, unemployment. I understand how difficult it can be to achieve your goals and prove your professionalism and expertise."
Rtichsheva managed to turn these challenges into opportunities — she is now developing TV segments that educate immigrants on the best ways to succeed in Canada.
"I visited a few different organizations focused on immigrant settlement and professional development," says Rtichsheva. "I was very surprised by the number of programs available for immigrants and newcomers. I don't know why these services are hidden and not advertised. This is another reason why it is important to have ethnic media — to help newcomers get the information and support they need."
TVKIDS Media school studio session at Shaw Spotlight in Winnipeg.
In 2016, she also founded the TVKIDS Media School, to share what she has learned with youth interested in a future in journalism. Kids are given an opportunity to interview people, write news story, be in front of the camera, edit videos and more.
Helping immigrants with information
Looking forward, Rtichsheva is hoping with funding to open the RTV platform to all ethnic groups.
"RTV's mission is to help immigrants to settle in Canada and become familiar with the Canadian community," says Rtichsheva.
"I'm willing to help others and share my advice and experience. I'm happy and thankful for the chance given to me in Canada to implement the most ambitious ideas and projects for the community. Multiculturalism and diversity are major pillars in Canada. Canada is the country of great opportunities. Just dream and don't give up and you will be a winner."
Russian TV
Taya Rtichsheva
TVKIDS media school
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Rebeca Kuropatwa
Rebeca Kuropatwa is a freelance writer in Winnipeg, Manitoba.

redpajama_set_name: RedPajamaCommonCrawl


The Nintendo Entertainment System (NES) Classic Edition from the Japanese gaming giant will hit shelves in the US today; however, it turns out that they will be available in limited quantities.
The word comes from Amazon itself that has revealed that the limited quantities will mean that each customer will be able to buy just one unit. This effectively means that you if you intend to buy two or three for gifting purpose during the holiday season, that's not an option as of now. According to Amazon, the NES Classic Console will be available from November 11 2:00 PM PT. Amazon will not ship the device internationally and so those who intend to buy it from Amazon US from other countries, that's not an option. There is no other way out but to wait for the console to be released in their countries.
One thing that is rather odd is that NES Classic Console's flash memory has been soldered into its motherboard and this effectively means that if you want to play any game other than the 30 Nintendo has bundled, you may want to consider a Retro Freak or traditional emulation software.
The Nintendo Entertainment System: NES Classic Edition, aside from being a mouthful of a name, is a one-time purchase with 30 games. It's got a few modern accoutrements such as HDMI as well as Wii/ Wii U controller support, and you can also use its classic controller with Virtual Console games on the Wii and Wii U. But you're saddled with its 30 games – no more and no less.
All this is for a princely price of $59.99 and an additional $9.99 if you need a second controller.
GameSpot's Peter Brown took apart the NES Classic and found a quad-core Linux computer toting 512MB flash memory storage and 256MB of RAM. It features modern components such as HDMI as well as Wii/ Wii U controller support, and you can also use its classic controller with Virtual Console games on the Wii and Wii U. But you're saddled with its 30 games – no more and no less.


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EFF Calls for Stricter Facial Recognition Regulations
The Electronic Frontier Foundation (EFF) has published the transcript of Jennifer Lynch's testimony to the Presidential Commission on Law Enforcement and the Administration of Justice. Lynch is the Surveillance Litigation Director for the EFF, and was invited to address law enforcement's use of facial recognition technology at an April 22 hearing on the subject.
In her testimony, Lynch reiterated many of the EFF's concerns about facial recognition, pointing out that there is little in the way of quality control and that many facial recognition algorithms are less accurate when trying to identify people of color. She also noted that many law enforcement organizations have deployed facial recognition without any meaningful public oversight, and that there are no laws in place to prevent abuses and privacy violations like those uncovered in the Clearview AI scandal earlier this year.
With that in mind, Lynch presented facial recognition as a severe threat to people's civil liberties. She asked the Commission to investigate current facial recognition practices at the local, state, and federal level, and to create policy restrictions that limit law enforcement's access to the technology.
"Widespread use of face recognition by the government—especially to identify people secretly when they walk around in public—will fundamentally change the society in which we live," said Lynch. "It will, for example, chill and deter people from exercising their First Amendment protected rights to speak, assemble, and associate with others."
The testimony went on to highlight several other abuses of facial recognition technology. For example, law enforcement officers in Florida have failed to disclose the use of facial recognition in criminal investigations, while many of the images used in those (and other) investigations were collected outside the criminal justice system, as in the case of driver's license photos. As a result, many people do not know that their personal information is being used in facial recognition searches, a fact that partially inspired the EFF's "Who Has Your Face" project.
Lynch also stressed the accuracy shortcomings of many popular facial recognition systems, including Amazon's Rekognition. The EFF previously asked Privacy and Civil Liberties Board to suspend the use of facial recognition. In March, the state of Washington passed legislation that could serve as a template for other jurisdictions looking to regulate facial recognition technology.
April 27, 2020 – by Eric Weiss
EFF Makes Case for Private Use of Facial Recognition
Federal Law Enforcement Keeps Signing New Facial Recognition Contracts
AnyVision Calls For 'Empty Database' in Ethical Recommendations for UK Surveillance Commissioner
NtechLab Brings Controversial Facial Recognition System to Middle East
Privacy Watchdogs Sound Alarm About Secret NYPD Surveillance Fund
West Lafayette Mayor Vows to Veto Facial Recognition Ban
Filed Under: News Tagged With: Biometric, biometric surveillance, biometrics, biometrics regulation, EFF, Electronic Frontier Foundation, ethical issues, face biometrics, facial recognition, law enforcement biometrics, privacy issues


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Why Millennials Are Still Living at Home
By Anne Miller
SourceGallery Stock
As the fortunes of our newest-minted adults go unrealized, so goes the rest of the national economy.
Perspective: The economic struggles of America's young professionals could use some.
It's not so much that the whippersnappers need some schooling. More like the rest of us oughta learn what it's like to be 23 and struggling to carve out a financial life in a way previous generations haven't had to navigate.
$35,000 equals the average annual earnings of today's millennials, according to a new report from the Federal Reserve Bank of Atlanta. Baby boomers just starting out in their first professional jobs in the 1960s took home $34,883 (adjusted for inflation). Millennials entering the workforce make about the same as baby boomers entering the workforce did in the '60s – but the cost of living has gone way up.
No wonder so many of them are still living in the old parental homestead.
Just look at the price of a new home. In 1968, the average home cost around $26,000 (yep, just five figures). Today's average home price, according to the U.S. Census Bureau, hit $334,200 in March. What does it mean with the various inflation rates adjusted? In 1968, a home cost about 3.5 times the average American's annual salary. In 2014, it's 10 times as much. Only, the average American salary hasn't changed so much.
It's about establishing your own home and family — or, the lack of wherewithal to do so — and the impact that has on the overall economy.
And existing home sales — a big economic indicator — sunk more than rose in March, according to the National Association of Realtors. Just one more ripple effect. This isn't just because of the millennials; it's changing mortgage rates, harder-to-get loans, longer-term older unemployment — there's a lot of variables. But for sure, there is a lack of young people diving into the glories of lawn-mowing and Pinterest-inspired interior designing. A stagnating housing market means less cash in the economy, from fewer housing-related jobs to fewer young people building equity.
And that doesn't even begin to touch the average $29,400 in college debt owed by the 7 out of 10 students who took out loans to pay for school, as of 2012. Just four years before, the average 2008 grad had $24,000 in debt. It just keeps growing, every year. Unlike the salaries.
This isn't just a generational sob story. Ultimately, millennials not leaving home also causes major economic headaches. It's also not about having clandestine basement parties well into adulthood (oh, Garden State). It's about establishing your own home and family — or, the lack of wherewithal to do so — and the impact that has on the overall economy.
There are lots of assumptions we make as a nation about recoveries and such, based how we expect each generation to act: that a certain number will go to school, get a job, then buy a house, in an expected order. But the millennials aren't acting the way others have (grow up, get a job, move out, buy a house). The shape of their lives is a little different.
In other words: Yes, young 20-somethings still living in their childhood bedrooms is a problem for their parents, and their own independence — but it's also an issue for the larger economy. And America is running out of spare bedrooms.
Anne Miller, OZY Author Follow Anne Miller on Twitter Contact Anne Miller
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April 28, 2001 -- For more than a year, Fresno wheelchair user Elias Gutierrez had been complaining about the lack of sidewalks with curb ramps in the areas where he had to travel, saying he was being forced into the streets to travel to shopping and to visit friends.
On Sunday, March 18, the 60-year-old activist was killed when he was struck by a car as he was traveling in his power wheelchair next to the curb on Palm Avenue near Cornell. There were no curb cuts available to allow him to get onto the sidewalk.
"It's our worst nightmare," Fresno disability activist Ed Eames says of Gutierrez's death. "Elias has become the victim of this city's wanton lack of concern with the issue of making sidewalks a safe haven for people in wheelchairs."
The evening of Gutierrez's death, Fresno television stations broadcast the image of an overturned wheelchair on the sidewalk of Palm, and a single shoe in the street. Yet officials have not yet called for an increased program of installing curb cuts, says Eames.
What Eames calls the "totally inadequate" annual allocation to install curb cuts was begun only after another Fresno wheelchair user, Clayton Turner, was injured a few years ago; Turner's lawsuit against the city is pending, says Eames.
"Lack of resources, combined with lack of commitment, sets the stage for future deaths of disabled people," says Eames.
Fresno disabilty activists have demanded Fresno Mayor Alan Autry and city officials attend a May 2 meeting "to discuss solutions to this ever-present life threatening concern."
Last June, Fresno was named one of America's 10 "most livable cities" by the National Civic League. Danny Hernandez, Fresno wheelchair user and designer of Fresno's Oso de Oro Park, a national model for accessibility, was at the ceremonies in Louisville, Ky. when Fresno was given its award. "There's not one thing in that park I can't use," Hernandez told reporters.
The sidewalks of Fresno, however, are a different story.


The incorporated metal balls shape the bristles to a more defined tip, every time when shaking or snapping the brush. The tip of the brush itselfs is hand made from exquisite high quality Kolinsky bristles.
requirements for manufacturing a contemporary veneer.
The chosen dense red sable hair provide a sufficient water reservoir.
The brush is very dense of pointed.
Either for building-up, for touching-up of smallest contacts or for applying stainings – the right brush for every technique is in the set.


This publication aims to shift the debate on the future of cities towards the central place of citizens, and of decentralised, open urban infrastructures. It provides a global perspective on how cities can create the policies, structures and tools to engender a more innovative and participatory society. The publication contains a series of 23 short essays representing some of the key voices developing an emerging discourse around Smart Citizens.
Susa Pop from Public Art Lab contributed with the essay "Connecting Cities and its Citizens Through Artistic Urban Media Scenarios".


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A flamboyant performer who illustrates her music with synchronized art, film, and photography, Oaxaca-born singer-songwriter Lila Downs specializes in dramatic transformations. Marvel as she becomes a deeply emotive mariachi, realist folkie, or shamanic priestess in rapid succession. Downs's equally malleable voice modulates just as suddenly from pop pep to tear-jerking operatics. Downs collaborated with Argentine singer Soledad and flamenco singer Niña Pastori on their forthcoming Raiz (Roots), which contains "La Cumbia de Mole," an appetizing ode to Oaxaca's tastiest feature, among deeper themes. She performs here with her longtime band, La Misteriosa, which deftly navigates ranchera, banda, corridos, and other Mexican styles. Raised in Mexico, California, and Minnesota, Downs is a child of the Americas who also happens to sing the best version of "La Cucaracha" ever.
Sat., April 19, 8 p.m., 2014
More:CultureCumbia de MoleLila DownsNina PastoriOaxacaTown Hall


Why consider a commercial solar installation? Because you can benefit from inflation linked returns, save money on running costs as well as lower your carbon emissions.
The Eco Experts work in partnership with local and trusted commercial solar panel installers throughout the UK to help you and your business take the leap into solar energy.
Here's a quick guide to get you started on the costs and benefits commercial solar can deliver. Get a free, no-obligation quote by filling out the form at the top of this page.
Commercial solar refers to systems installed in larger operations in sectors like agriculture and manufacturing. Business solar refers to systems installed in small to medium sized businesses (SME's) based in office premises.
As an SME may have a limited space for a solar panel installation, the return on investment (ROI) will probably be closer to that of domestic installations.
A commercial solar panel system with a substantial section of land or roof space will see a greater ROI due to a government scheme called Feed-in-tariffs (FiT) which saves businesses money if they generate their own renewable energy.
Some commercial operations have been setting up small solar farms to make the most of the space they have to run them and to generate extra income from selling the electricity they create from their solar installation, back to the grid through FiT.
The cost of solar panels has plummeted in last 10 years due to advancements in the technology. The type of solar panel system required will depend on the size of the commercial business and therefore the range of wattage and price will scale.
The most popular systems for businesses have a 5-9kW output but a commercial operation with large spaces of land may require a system with an output of 25kW to even as much as 200kW.
The table below shows the typical cost of commercial solar panel systems.
What Grants Are Available for Commercial Solar Panels?
For some businesses, the installation of solar panels can be extremely lucrative thanks to the government scheme, feed-in tariffs (FiT).
Once registered through the FiT scheme an energy company pays a generation tariff based on a set rate for each unit (or kWh) of electricity generated.
The energy company also pays an export tariff of 4.77p/kWh for all energy not used, which they can export back to the grid.
There are caps on the amount of energy that you can sell back to the grid (although these are high) and the amount you will be paid per kilowatt will depend on the size of your solar panel installation and its potential energy output.
The table below shows the latest feed-in tariffs rates for commercial solar systems in the UK. All tariff rates are pence per kilowatt hour.
How much a commercial or smaller business can earn from solar panel energy is very much dependent on how much sunlight they receive throughout the day, and the size of the system.
As a guideline, for smaller businesses, a 4kW system with FiT and electricity savings could add up to around £16,000 over 20 years.
For larger businesses, A 10kw system could offer returns of about £2,000 per year and a 50kW could deliver upwards of £10,000 a year in income when installed in optimal conditions (south facing with no shade whatsoever).
If the solar panels are providing your business with power as their main purpose then you will not have to pay tax on any incentives offered through them. This means that any FiT payments are tax-free for the entire time they are paid.
The only time that tax would have to be paid on solar panel income is if you created a solar farm where the sole purpose of the panels was to generate a profit.
Do You Need Planning Permission for Commercial Solar?
Up until 2012, planning permission was not required for domestic properties but was required for commercial properties. As of 6th April 2012, this has been lifted. Commercial and agricultural properties no longer have to apply for planning permission to have a solar panel installation fitted.
This applies to systems up to 50KWP for electricity and up to 45 kilowatts for thermal. The only exception to this rule is if your commercial property is a listed building in which case planning permission will still be an issue.
Energy is a huge cost to the hospitality and leisure sector. Gyms, hotels and leisure centres spend vast amounts on electricity and quite often have large roof space which is not being used. Solar panels could bring in huge savings to energy bills and earn an extra income from FiT. Some may also qualify for the PPA to help with installation costs.
The construction sector is under increasing pressure to meet minimum renewable energy requirements. For example, the PART L regulation insists that 10% of electricity consumed by a new-build must be self-sufficient. Including a solar panel system into the building's plans and construction budget will see great returns on energy saving and from the advantages of the FiT payments. It is also worth looking into a PPA for installation support.
An agricultural operation like a poultry or dairy farm could greatly benefit from making good use of the space by installing solar panels. The FiT scheme could earn the farm an extra income by selling back surplus energy to the grid. A solar panel system will also increase a farm's green credentials which is an attractive proposition to some retailers. Some suppliers offer schemes to take the burden off the cost of installation with a Power Purchase Agreement (PPA) which will install a system for free and allow the farm to purchase the energy at an agreed rate, lower than a typical energy supplier.
Solar energy is certainly something for the public sector to consider and which could bring benefits to social housing, hospitals, transport and schools. Reducing the cost of electricity will make a substantial saving to the maintenance of these building as well as showcasing that local authorities are greener thinking and innovative. There are also financial schemes available to help with the cost of installation.
Educational premises are often on sites with large roof space which could be better used by installing solar panels. Not only will they see a financial advantage from solar power in reduced bills and possible income from the FiT scheme, but on a wider level, it will help to raise awareness of renewable energy. Some suppliers offer schemes to take the burden off the cost of installation with a PPA.
For retailers with large overheads who are constantly competing with the online market, cutting down expensive energy bills with solar power would bring well needed savings. For self-funded panels, retailers could earn an extra income from FiT. Some may also qualify for the PPA to help with installation costs. Retailers powering their facility through green energy could also send a positive message to customers.
With expensive medical equipment that requires a lot of power to operate, private hospitals, clinics and surgeries would benefit from the savings made from solar power on their energy bills, as well as additional income from the FiT. Some of these healthcare companies may also be eligible for a PPA if self-funding the installation is not an option.
The usual benefits of reduced energy bills and extra income apply to businesses that own their office space. For corporate landlords who may not see the value in a large investment with the benefit of reduced energy bills going to tenants, solar energy will contribute favourable towards your energy efficiency assessment. The PPA is also available to fund it and reduced, greener bills may attract future tenants.
With government pressure for all companies to reduce their carbon footprint and the manufacturing sector powering large machinery, installing solar energy is a good move. By helping the environment, it also sends a positive message to the rest of the supply chain about the company's green ethics. Manufacturing companies may also be able to save costs through a PPA.


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North American Van Lines Truck Accidents
By Michael Grossman October 23, 2014 Reading Time: 5 minutes
Home Dallas Truck Accident Attorney Transport Companies Who Have Been Sued North American Van Lines Truck Accidents
Lawsuits Involving North American Van Lines Trucks
Most people assume that if they're in a collision with a commercial truck, that company is automatically responsible for the costs of any injuries or loss of life that occurs in the accident. They see a name on the side of the truck, like North American Van Lines, and assume they can just contact the company and get things resolved. It would be nice if things were that simple, but unfortunately, they're not. In order for a victim to hold a trucking company accountable for any injuries that result from a crash, a victim has to have to ability to prove in a court of law that the trucking company was at fault. That's a tall order.
The situation gets even more complex when dealing with a company like North American Van Lines, which isn't an independent company in its own right, but a subsidiary of SIRVA, a privately held trucking conglomerate that includes other companies, like Allied Van Lines. Subsidiaries like North American Van Lines may handle the day to day business, but when there's a major incident, one can be certain that the parent company will get involved.
These situations require not only an attorney who can prove that a trucking company screwed up in court, but also someone able to navigate complex corporate structures to determine just who they're dealing with. That's where truck accident injury firms like Grossman Law Offices can help.
Questions Answered in This Article:
Do North American Van Lines drivers have more failed safety inspections than the average trucking company?
Has North American Van Lines been involved in many wrecks?
What do I do if I've been injured by a North American Van Lines 18-wheeler?
Crash statistics are taken from the Federal Motor Carrier Safety Administration
What Is North American Van Lines?
North American Van Lines is the Fort Wayne, Indiana-based subsidiary of SIRVA, a private holding company. According to the most recent publicly available documents, SIRVA had $664 million in annual revenue, placing it comfortably among the top 100 largest trucking companies in the United States.
The vast majority of United Van Lines business comes from physically moving the possessions of corporations who choose to relocate. Another substantial portion of its incomes comes from contract moves with private individuals who seek the help of a moving company. In essence, someone wants to move, but doesn't want to or isn't able to do it themselves, they call up North American Van Lines, and they show up with their 18-wheelers to haul everything to its new home.
To accomplish this, North American Van Lines owns 927 commercial vehicles and employs 1,523 drivers. In 2016, this fleet covered more than 37 million miles on our highways. Between 2016-2018, the North American Van Lines fleet was involved in 38 crashes, 7 of which resulted in at least 1 injury. Thankfully, North American Van Lines was not involved in a fatal collision during this time period.
It's fair to point out that just because a company is involved in an accident doesn't mean that their driver was at fault. Federal statistics currently include crashes in a company's count, whether the company's driver or someone else caused it. The flip side is that the numbers also don't rule out the possibility that some portion of these crashes were caused by a North American Van Lines driver.
It's also interesting to note, especially given the nationwide shortage of qualified truck drivers, that North American Van Lines drivers failed driver inspections at a higher rate than the national average. Certainly, some of these failures could be due to the mountains of paperwork, which drivers are required to keep, not being in good order, but failure can also stem from issues like an invalid CDL, failed drug tests, or drivers who exceed the number of hours that they can legally drive.
The way the government reports their data makes it impossible to know why North American Van Lines drivers fail safety inspections at a higher rate than their peers. What does raise some concern is that most trucking companies of similar size beat the national average by a significant margin.
What Do Failed Driver Inspections Mean For Victims Trying to Hold North American Van Lines Accountable?
The single biggest cause of accidents involving commercial trucks is driver error. While there are cases where the driver who causes the crash is in a passenger vehicle, a significant amount of the time it's the 18-wheeler driver who does something that results in tragedy. Why does this matter?
Law enforcement officials conduct random inspections of truck drivers. The purpose of these stops is to ensure that truck drivers are playing by the rules. When the inspector finds a violation, it means that the truck driver is doing something unsafe or not in compliance with regulations. Well, when a company has a higher number of drivers who fail these inspections, it certainly should raise questions if you're injured by that company's drivers. If nothing else, victims deserve to know whether the driver who caused their accident had failed a driver inspection.
Anyone with access to the internet, including accident victims, can look up aggregate driver safety statistics for a company like North American Van Lines, just as easily as we can. What most people can't do is obtain records indicating whether or not the particular driver who caused their wreck had a history of failed driver inspections or other red flags. Especially if there were red flags, a trucking company isn't just going to hand over damning evidence to a victim, absent the credible threat of litigation.
It's stating the obvious to point out that most people simply don't have the skills to navigate our courts and make a trucking company hand over dirty laundry they would rather not have aired publicly. That's where an experienced truck accident injury attorney comes in.
Grossman Law Offices Is the Partner Victims Need
While most personal injury attorneys will handle one or two commercial truck accident cases throughout their careers, the attorneys at Grossman Law Offices have successfully resolved hundreds over the last 30 years. People wouldn't continue to hire our attorneys if they didn't get results. Part of getting those results is knowing how to dig and get evidence that trucking companies would rather hide from victims. This not only exposes the truth, but helps hold trucking companies accountable when they screw up and kill or injure someone.
If you're skeptical whether a law firm can really deliver the goods, don't take this article on faith. Call Grossman Law Offices for a free consultation at (855) 326-0000. We answer the phone anytime, day or night, and are always happy to answer any questions that you may have. If you've been injured by a North American Van Lines driver, don't try and take them on by yourself. Get the help you need.
Related articles for further reading:
How Does Truck Accident Litigation Work In Texas?
How Do I Prove the Trucking Company's Liability for My Injuries?
An Overview of Common Commercial Vehicles
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Michael Grossman
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06 FEBRUARY 2019 (SOURCE: FOX) – President Trump, in his first State of the Union address before a divided Congress, railed against "the politics of revenge" and "partisan investigations" as he appealed for unity at a time when Washington is struggling to break a deadlock over border security funding that threatens to trigger another government shutdown in a matter of days.
Touting economic gains during his first two years in office, as well as legislative wins on issues like criminal justice reform, Trump warned Tuesday that deepening partisan tensions undermine America's progress.
The president called for unity — but at the same time, did not back down from his insistence that Congress fund border security measures including a border wall. Trump, in graphic terms, also weighed in on the late-term abortion debate in Virginia, accusing embattled Democratic Gov. Ralph Northam of saying "he would execute a baby after birth." Northam, who is embroiled in a separate scandal over racist photos on his medical school yearbook page, has pushed back against the accusation that he discussed infanticide while commenting last week on an abortion bill.
He focused much of his speech on his signature issue of border security, calling for new funding for a border wall and saying the U.S. has a "moral duty" to create an immigration system that protects the lives and jobs of "our citizens." The wall was at the heart of the standoff that triggered the longest government shutdown in U.S. history in December. That shutdown was ended with a stopgap funding bill, but the Feb. 15 funding deadline to pass a new measure is fast-approaching, without a deal in place.
The president has suggested he could declare a national emergency to secure funding for the border wall if Congress doesn't act, though he did not make such a declaration on Tuesday. Trump insisted a barrier will be built on the U.S.-Mexico border, while pledging that his administration will "never abolish our heroes from ICE," amid calls from some Democrats to gut the agency.
The president, meanwhile, said he's "alarmed by new calls to adopt socialism in our country," amid the popularity in the Democratic Party of Democratic socialists like New York Rep. Alexandria Ocasio-Cortez.
During Tuesday's speech, the president took credit for an "unprecedented economic boom," boasting of 5.3 million new jobs created. He also highlighted Republican efforts to eliminate "the very unpopular ObamaCare individual mandate penalty" as part of the tax reform.
On foreign policy, Trump — who announced in December that he was withdrawing U.S. forces in Syria — said it is time "to give our brave warriors in Syria a warm welcome home." He also said he has "accelerated our negotiations" to reach a political settlement in Afghanistan.
The tame and at-times jovial mood in the chamber belied the intense partisan rancor surrounding the address.
Also in the audience were several other Democrats running to challenge Trump in 2020, including Cory Booker of New Jersey, Elizabeth Warren of Massachusetts and Kirsten Gillibrand of New York.
The lead-up to this year's speech to Congress has been uniquely dramatic: House Speaker Nancy Pelosi initially invited the president to deliver the State of the Union on Jan. 29. But she later moved to delay the speech, citing the ongoing partial government shutdown. The president then abruptly denied military aircraft to Pelosi for a foreign trip.
Pelosi, who regained the speakership after Democrats re-took the House in November, was seated behind Trump in the House chamber.
Tuesday night's date for this year's State of the Union was ultimately agreed upon after the president in January signed a bill reopening the government for three weeks. But that standoff is not resolved. Trump has refused to sign a government funding bill that does not include money for his long-promised border wall, and has called on Congress to make a deal with him on border security ahead of a Feb. 15 funding deadline.
Democrats tapped Stacey Abrams, who lost the Georgia gubernatorial race in November to Republican Brian Kemp, to deliver the Democratic response to the president. "America is made stronger by the presence of immigrants — not walls," said Abrams, who is being encouraged to run for the Senate in 2020 against incumbent Republican Sen. David Perdue.
Among the president's guests Tuesday night were Delaware 6th-grade student Joshua Trump, who says he has been bullied at school because of his name. Family members of Gerald and Sharon David, the Nevada couple murdered last month allegedly by an illegal immigrant, were also in attendance, as well as Alice Johnson, whom Trump granted clemency last year while she was serving a life-term sentence without parole for a nonviolent drug crime.


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Chicago Trivia
Question - how can a solid, presumably very heavy statue get around town so much? Wait, it gets better - it's been run over & even blown up two times. Do you know the story about the travels of this statue? Let me tell you.
West Randolph
The statue was designed by sculptor John Gelert in 1889. It was memorial to slain policemen. On the base it says, "In the name of the people of Illinois I command peace" It was unveiled in the middle of the Haymarket Square on May 30, 1889. (Essentially Randolph & the Kennedy today) Things should have been pretty boring for that statue from then on...but not quite.
Leaving Randolph Street
In the courtyard at the Chicago Police Academy
Current location at Chicago Police Headquarters at 35th and Michigan.
1972 inside the Chicago Police Headquarters on south State Street.
The statue initially was created in memory of the policemen killed in the violence of the 1886 Haymarket Riot. The funds for the statue was raised by members of the Union League Club of Chicago.
The first incident happened on May 4th, 1927. A streetcar jumped its tracks and crashed into it. The driver said he was sick of seeing that policeman with his arm raised. The city fixed the statue and moved it to Union Park the next year.
The Kennedy was built in the 1950's and the statue got moved over to the original Haymarket Square area overlooking the new expressway. In October 1969 the statue was destroyed by a bomb. The Weathermen took credit for this. By May the next year the statue was rebuilt and set back on its base. Five months later, it was blown up again by the Weathermen.
You'd think the city would give up but did they? No way. Mayor Daley had it rebuilt now for the third time and placed in the lobby of Police Headquarters. Four years later for some reason he was moved to the courtyard of the Chicago Police Academy. When the new Chicago Police Headquarters was built at 35th and South Michigan Avenue, there was the statue outside the building. It seems to be living a very quiet life there...so far.
Marilyn K Kelly
As the relative of two slain Chicago Police Officers, I am glad the city did not give up on this statue. I hope it's message of peace will someday come true.
Yes, we need peace especially now. Thank you Marilyn.


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Meet the NJPAC Faculty
PROGRAMS FACULTY SUBJECT TO CHANGE
D.Cross - Derick Cross
D.Cross (Derick Cross ) is a visual and vocal poetic artist, who creates imagery and sound that transcends and crosses boundaries of genres and labels.
As a poetic performance artist, this "Vocal Beat Expressionist" uses "vocal acrobatics" to create sonic collages of his poetry combining words and beatboxing.
He has performed in cities nationally & internationally, as well as highly sought after venues such as, Madison Square Garden, SOB's, BB Kings, Carolines On Broadway, Avery Fisher Hall at Lincoln Center.
Purple Haze - Sheikia S. Norris
Sheikia S. Norris, lyrically known as Purple Haze is from the Bronx and resides in Newark, New Jersey. Purple connects with audiences and students intentionally through scholarly wonderment, powerful engagement and love for Hip-Hop culture and community. Enthusiast of the art form appreciates her energy, impeccable flow and a clever deliverance of truth. Purple has mastered her own rich style of delivering lyrics and developing parallel teaching techniques. Rapidly growing a reputation for being a lead contributor to Hip Hop education and cultural preservation, is passionate about collectively bridging art & culture, education & wellness. Purple is a diversified talent poised for success in a host of arenas!
Karen Ng
Dancer, Choreographer and Teacher, Karen Ng is a powerhouse of passion and talent. With
over 10 years teaching experience she shares a wealth of knowledge of the Hip Hop and Street
Dance scene spanning from New Zealand to New York City. Having performed in various
elements from dance battles, music videos to some of the biggest music festivals, she continues
to develop her work as a choreographer for theater, film and stage. You can find out more on
karenngdance.com
Adegoke Steve Colson
Adegoke Steve Colson, a Grammy-nominated pianist/composer, has recorded on Columbia/Sony, Black Saint, and other labels. His recent CD, "Tones For," is a Jazz Times' Editor's Pick (April 2016). Internationally, Steve has been billed with Dizzy Gillespie, Max Roach, and other greats; his bands have included David Murray, Reggie Workman, Henry Threadgill, Andrew Cyrille, and Amiri Baraka, etc. Steve is an early member of the influential Association for Advancement of Creative Musicians (AACM).
Earl McIntyre
Bass Trombone, Tuba,
Has played, recorded or arranged for Gil Evans, Charles Mingus, Miles Davis, Taj Mahal, Lester Bowie, The Band, Stevie Wonder, McCoy Tyner, J.J. Johnson,Carla Bley, Aretha Franklin, Cedar Walton, Levon Helm, the Count Basie Orchestra, the Ellington Orchestra, the Thad Jones -Mel Lewis Orchestra, Slide Hampton, the Mingus Big Band, Cecil Taylor, Arturo O'Farrill & the Afro Latin Jazz Orchestra . He appears on many Grammy award & Tony winning productions. His most recent CD release is "Brass Carnival & Tribute"
Irio O'Farrill
Irio O'Farrill is a professional bassist working out of the New York City metropolitan area. He has performed with various pop, jazz, and Latin artists, and for several Broadway shows. His credits include Gloria Gaynor, Sarah Brightman, Juan Carlos Formell, and the Broadway shows: "The Wedding Singer", "In The Heights, "Kinky Boots", and "On Your Feet".
Jackie Jones
Jackie Jones is a graduate of Arts High School (Newark's High School of the Performing Arts) and Rutgers University in New Brunswick, NJ.While earning her degree in Psychology at Rutgers, she continued her formal music education at the Mason Gross School of the Arts. There she trained and further refined her musical style under noteworthy jazz talents as pianist Kenny Barron, drummer Keith Copeland, vibraphonist Steve Nelson and bassist Larry Ridley.
Jackie Jones has toured throughout the United States as well as internationally, including Switzerland, Russia, Germany and Portugal. Ms. Jones musical associations are formidable indeed. She has opened for the legendary Lou Rawls and has performed with numerous noteworthy artists including bassist Christian McBride, pianist Nat Adderley, Jr., drummer Winard Harper, Trumpeter Valery Ponomarev and saxophonists Don Braden and Houston Person.
Joseph Bergen is a percussionist, educator, curator, and composer active in the New York metro area. Joe is a founding member of Mantra Percussion ("superhuman..." New Yorker), Transit New Music ("boldly surreal aural experience..." NY Times,) and is the education director of Mantra Youth Percussion as well as percussion specialist in the Rahway School District.
http://www.mantrapercussion.org/
www.transitnewmusic.com
http://www.mypercussion.org/
Michael Feinberg
A 'musical prodigy turned evil genius" (spinner) bassist Michael Feinberg has been one of the most in-demand side man in NYC since his arrival in 2009. A graduate of U of Miami and NYU Feinberg has worked alongside some of the top names in jazz and contemporary music including John Scofield, Billy Hart, George Garzone, Ambrose Akinmusire, Knower, and Run DMC.
Noel Sagerman
Noel Sagerman began playing the drums at St. Cloud elementary school in West Orange, NJ. He started playing professionally while attending The University of Vermont. After graduating in 1991, he spent a year playing in Japan and in 1992 moved back to his native New Jersey where he has maintained a busy performing and teaching schedule. He has performed with Irene Reid, Pharoah Sanders, Oliver Lake, David "Fathead" Newman, "Big" John Patton, gospel singer Joshua Nelson, and many others. He currently lives in Newark, NJ.
Sylvia Cuenca
Sylvia is an active drummer on the New York music scene. She's shared the bandstand with Joe Henderson and Clark Terry. She recently performed with Kevin Mahogany in South Africa and toured as a leader in India. Guest clinician: Sisters in Jazz Program, Mary Lou Williams Jazz Festival, Faculty at Jazz for Teens program, Stanford Jazz Workshop, and Guangzhou Conservatory of Music in China. Recipient of NEA Grants and semifinalist at Thelonius Monk International Drum Competition. For more info: www.sylviacuenca.com.
Lara Gonzalez
Lara is Co-Founder and Artistic Director for her performance and educational group, Marafanyi Drum, Dance & Song, a graduate of Fordham University, an Assets for Artists grantee, and a versatile artist who enjoys multi-disciplinary projects and community collaborations - and a deep love of West African music, dance and culture.
E. Jane Keitel
Ms. Keitel is a professional actor, certified teaching artist, musician. She has been teaching for over 20 years in numerous NJ school districts and in professional NJ Music Schools and Theatres. A member of Actor's Equity, Ms. Keitel has performed Off-Broadway and on numerous regional theatres including Playwrights/Writers Theatre of NJ, Luna Stage, Papermill Playhouse, Growing Stage, NJPAC and 12 Miles West. Ms. Keitel has taught Musical Theater, Acting, Playwriting, and Improvisation to young people for over 20 years. She voiced all of the characters in the original musical "Dr. Duck", which premiered at the BMI Professional Musical Theatre workshop in NY. Jane has worked in film and commercials. Her most favorite role, however, is bringing out the creativity in each of her students!
Erica Bradshaw
Erica Bradshaw began her theatrical career at the University of North Carolina School of the Arts, from there she originated the role of Adele in Arthur Millers' Mr. Peter's Connections (off-Broadway) and has worked in various regional theaters including; Hartford Stage, Signature Theater (NYC), Actors Theater of Louisville, Milwaukee Rep, City Theater, Delaware Theater Company, Seattle Shakespeare Theater, and the Actor's Gang. Winter 2016 Erica will in appear in This Wonderful Life, a solo holiday show, at Luna Stage, West Orange. Her television credits include over 20 episodes of Law & Order: SVU, The Good Wife, Rescue Me, Limitless, Orange is the New Black, and High Maintenance. Erica has been a senior teaching artist across the U.S. for over 20 years.
Andrea Seigel
Andrea is a graduate of NYU's Tisch School of the Arts where she double majored in Acting and Educational Theatre. She has taught theatre based residencies for over 10 years to early childhood, elementary & middle school students in Manhattan, Brooklyn, the Bronx, Queens, the Hudson Valley and New Jersey. As a teaching artist, she believes that theatre can be used as a tool for learning almost any content (from shapes & rhyming to Shakespeare & the Greeks) and that the skills provided through instruction in the art forms can serve to enhance life and communication skills.
Dan Drew
Newark native Dan Drew graduated from Rutgers University with a B.A. in Theater and History in 2014. Since then he has actively worked as an actor, singer and dancer both locally and nationally. He joined the NJPAC family in 2016 as a Teaching Artist and most recently has begun working on production elements for Arts Education.
Doriane Swain
A graduate of Rutgers University with a BA in Theater Arts and a semester abroad at the London Academy of Theater, Doriane has appeared in contemporary, classical, and musical theatre throughout the tri-state area. As a performer, playwright, producer, and director, Doriane has worked closely with Luna Stage, Crossroads Theater, and Manhattan Repertoire Theatre. As a TA, Doriane enjoys co-creating with students of all ages and truly learns from each young artist!
Jennica Carmona
Jennica is originally from Rochester NY and is a recent New Jersey transplant! She is thrilled to be a part of the NJPAC teaching artist family. As an actress, she has starred in many roles including the role of Carmen in the NY Emmy Award winning show "We Are New York", as Marela in Nilo Cruz "Anna in the Tropics" (Hippodrome State Theatre), as the female storyteller in "Mi Casa, Tu Casa" at Luna Stage, and most recently as Elvira in 'Elvira the Immigration Play (NY International Fringe Festival, Collaboraction Theatre in Chicago).She is also an independent filmmaker and her first feature film , "Millie and the Lords", has received many awards and is currently available for streaming on HBO. She holds a BFA from the Tisch School of the Arts at NYU.
Laine Barton
Laine Barton, a theater, puppetry and circus artist, joyfully weaves her skills into her children's shows Why Read and other shows. She's performed at Kimtom Festival, Shanghai, China, at Lincoln Center's Out-of-Doors, on stilts for the Metropolitan Opera, & for TV's All My Children. She performed for over 20 years with the Big Apple Circus.
Nikiya Mathis
Nikiya Mathis - Television: Blue Bloods, Braindead, Person of Interest, Madam Secretary, and Elementary (CBS), The Night Of (HBO). Film: "Compliance", "Knucklehead", "All These Small Moments". National Commercials: Dunkin Donuts , Diet Coke , Kraft Macaroni and Cheese. Off Broadway: The Public Theater, Playwrights Horizons, the Atlantic Theater, New York Theater Workshop. BA: Temple University, MFA: NYU Tisch School of the Arts Graduate Acting Program
Alex Ratner
Alex Ratner is a New York-based composer/lyricist, music director and arranger. A 2015 Yale graduate, Alex most recently worked on the Broadway production of War Paint. Alex is the winner of the 2016 Jerry Harrington Award and 2017 Jean Banks Award through the BMI Musical Theatre Workshop. More at alexratnermusic.com.
Colleen Hawks
Colleen Hawks Broadway: Shrek, The Boy from Oz (starring Hugh Jackman) and Smokey Joe's Café. Other: original MTC production of Lippa's Wild Party, Anything Goes! with Chita Rivera. Film and TV: The Narrows, Law and Order C. I., As the World Turns. Colleen directs, choreographs and teaches voice. www.ColleenHawks.com.
Daryl L. Stewart
Daryl L. Stewart is an actor, director and teaching artist. Stewart's theater credits include Gershwin's My One & Only, The Wild Party, Carousel, Ragtime, Into The Woods, Stepshow (NYMF) and Five Guys Named Moe. Director/Choreographer credits include: The Wiz, Once On This Island, Seussical, Once Upon A Mattress, High School Musical and Disney's The Lion King Experience. Education: NYU, NY Conservatory for Drama and Papermill Playhouse Conservatory. Stewart serves on the faculty of several arts organizations including NJPAC Center for Arts Education, Luna Stage Theater Co. and Vanguard Theater Company. He is a recipient of the NYU Wasserman Award for Service, 2014 Urban League Honoree for the Arts, 2015 Union County Advancing Community Theater Grant and a Papermill Playhouse Rising Star Nominee. www.iamdarylstewart.com
Elisa Van Duyne
ELISA VAN DUYNE has performed on Broadway in 42nd Street, Beauty and the Beast, 110 in the Shade and Finian's Rainbow. Her regional work includes Ragtime at The Kennedy Center, Sound of Music at Fulton Opera House, Showboat at Asolo Rep and Kiss Me Kate at Paper Mill Playhouse. She has appeared on TV in Person Of Interest, As the World Turns, The Late Show With David Letterman, Good Morning America, The 2001 TONY Awards, and the Macy's Thanksgiving Day Parade. As a choreographer, she has staged The Who's Tommy, Guys and Dolls, and Big River at Alpine Theatre Project, Thoroughly Modern Millie at OCPT, and Oklahoma! at Seton Hall University. Elisa's teaching experience includes: Paper Mill Playhouse, Steps on Broadway, Broadway Dance Center, AMDA, CAP21, and Mount Holyoke College. For more information visit www.ElisaVanDuyne.com
Lisa Gunn-Becker
Lisa Gunn-Becker: As a performer: Broadway, regional theatre, commercials, film and television. As a teacher: Disney, Wolf trap, Dancing Classrooms, Accent Reduction, Improv and acting. In life: mother, wife, sister, friend. Lisa lives in a 1725 farmhouse with her husband, two daughters, and two collie dogs. Lisa believes creative expression can empower and transform individuals.
Madeline Calandrillo
Madeline Calandrillo: As a performer: Broadway, regional theatre, commercials, film and television. As a teacher: Disney, Wolf trap, Dancing Classrooms, Accent Reduction, Improv and acting. In life: mother, wife, sister, friend. Lisa lives in a 1725 farmhouse with her husband, two daughters, and two collie dogs. Lisa believes creative expression can empower and transform individuals.
Patrisha Gibson
Patrisha has joined the NJPAC family through there Disney Musical After school program as well as Dancing in Classroom program. It has been a joy to work with the students and share my gifts to help enrich their lives as well as the faculty. Also, she was recently seen in the production of Memphis. (Ensemble) Elsewhere she toured with Networks National Tour of Hairspray . Regional houses were, Maine State Music Theatre- (Dynamite) Hairspray, Maine State Music Theatre (Ensemble) All Shook Up, Columbia University MFA (Yegorushka) Ivanov, Circa 21 Playhouse (Brenda) Smokey Joe's Cafe,, The Spirit of BroadwayThe Last Session (Trysha) , Heights Players Theatre (dance captain) Ragtime-She can also be seen an the new Webseries " How to Make it Big".
Vanessa A Jones
Vanessa A Jones is currently a Resident Artist at the Cycely Tyson School. Years prior she also did a residency at The Whitney Houston School of the Performing Arts. Vanessa is an original Broadway cast member of Disney's The Lion King. Other Broadway credits: Caroline, or Change, The Buddy Holly Story. Television: ABC's What Would You Do?, Royal Pains, House Of Cards, Unforgettable, SMASH, All My Children. Vanessa's voice can be heard on various recordings and voice over commercial spots.
Wincey Terry
International singer, Wincey Terry is CEO of Winceyco and Executive Director of NanaBabies Nonprofit. Her innovative arts programs won her Kiss FM's "Phenomenal Woman" award. Wincey is an author, producer of music and educational CDs, Arts Chair of the NJ Human Trafficking Coalition and VP of Zonta of Essex.
Modern and Tap Dance
Ann Dragich
Ann Dragich has choreographed and performed around NYC, including Symphony Space, FIT, and Duplex Cabaret Theater, and is on faculty at ATDF, Ballet Hispanico and The DreamYard Project. Notably, she performed in Paris Fashion Week as part of the Rick Owens Spring 2014 Women's show. anndragichandcompany.com
Angela Bowman
Angela Bowman, a teaching artist specializing in, creative movement, tap dance, and theater; holds a BFA in Theatre from Emerson College, and MFA from Brooklyn College, A former dancer, choreographer and teacher for Dance for Joy, Bowman has also taught dance in East Orange, Newark, and Nyack College.
Carina Rubaja
Since 1998, Carina Rubaja has worked as a creative dance teaching artist with regular and special ed. Pre-k through 4th grade students. She gives workshops and mentors teachers both in the US and Argentina. She received her dance teacher training degree in 1988, and her M. Ed degree in 1993. She is a graduate of the 92Y's Dance Education Laboratory. .
Diana Crum
Diana Crum is a Brooklyn-based dance artist. She has been Visiting Artist/Faculty at Washington & Lee University, University of the Arts, and Hollins University. Her teaching practices and community work inform her choreography, which has been presented in NYC; Atlanta; Salt Lake City; Vienna, Austria; and Nancy, France, among others. MFA, Hollins University. BA, Columbia University.
Josef Woodson
JOSEF WOODSON – Josef earned his degree in Dance at the University of Michigan and studied ballet, jazz, and modern on scholarship at the Joffrey School, Ailey School and at Steps on Broadway. Josef went on to dance professionally with Ailey II, Donald Byrd, and the Sokolow Now! Dance Company. Josef performed at Tokyo Disney and is a Disney Teaching Artist and Associate Director for SKIN Dance Company. www.josefwoodson.com
Justin Dominic
Justin Dominic (Newark, NJ) Dancer / Performer / Choreographer / Teaching Artist. Education: M.F.A in Dance, University of Wisconsin-Milwaukee, B.F.A in Contemporary Dance, University of North Carolina School of the Arts. Performance Companies: Carolyn Dorfman Dance, Nai Ni Chen Dance Company, Metropolitan Opera Ballet, Keigwin + Company, LaneCoArts, Mark Morris Dance Group, Limon Company. www.justindominic.com.
Mary Brienza
AEA • WGAE • ASCAP
Mary Brienza is a performer/writer with credits spanning Off-Broadway, regional theatre, television, radio, concert dance and comedy. She is also respected teacher of tap dance, theatre dance, and musical theatre and has served on faculties for a variety of professional training programs including her current position with NYC's High School for Performing Arts.
Rachel Davidson
Rachael Davidson recalls her desire to dance at the early age of four. Rachael pursued her dream and obtained her BS in education and a minor in Dramatic Arts at SUNY Geneseo, where she also studied classical ballet (Jonette Lancos) modern (Jacqueline McCausland), jazz, and theatre. In 1993, Rachael received her M.A. in Dance education from New York University while training under the tutelage of June Lewis, Mary Anthony and Charles Moore. In addition to her studies, Rachael has taught, choreographed and directed several productions for many school, churches, production companies and dance schools throughout the Tri-State area for over 15 years. Her credits include: Brooklyn Academy of Music, Carnegie Hall, Lincoln Center, WNYW Fox 5 Christmas and Easter Specials, Nativity (under the direction of Robert Evans), Henry Hudson Repertoire (under the direction of Freddie Moore) and Dance for Joy Ministries (under the direction of Iris Cloud). Currently, Rachael is a teacher for InterVision's Theater Arts Center, (under the direction of Nailah Flake Brown), New Jersey Performing Arts Center (NJPAC), Dance Theater of Harlem (D.T.H), The Center for Arts Education (C.A.E) and a member of the National Dance Education Association (NDEO), National Liturgical Dance Network (under the direction of Rev. Eyesha Marable) and the Allen Liturgical Dance Company.
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The Chancellor has been mulling over some changes to Class 2 National Insurance. Originally they were going to be abolished, then they were going to be raised. So, what changes are happening now?
Class 2 National Insurance is payable by anyone who is self-employed. These contributions are a flat weekly rate and mean the contributor is entitled to employment and support allowance, maternity allowance, widowed parent's allowance, state pension and bereavement benefits.
The Government had planned to abolish Class 2 National Insurance from 6th April 2018, but the Chancellor announced in last November's budget that it was to be delayed until 6th April 2019 instead.
Last month, it was announced that Class 2 National Insurance was now going to continue beyond that date following a review concerning the impact on self-employed people with low profits.
The review concluded that self-employed people with low profits would see their voluntary contribution rise significantly to ensure they were still entitled to the various benefits mentioned above.
A Treasury spokesman said, "Having listened to those likely to be affected by this change, we have concluded that it would not be right to proceed during this parliament, given the negative impacts it could have on some of the lowest earning in our society.
Furthermore, it has become clear that, to the extent that the government could address these concerns, the options identified introduce greater complexity to the tax system, undermining the original objective of the policy."
So, there you go, the change to Class 2 National Insurance has been cancelled and there are no plans to abolish it anytime soon!
If you're self-employed and a little confused about your Class 2 National Insurance contributions, then do give me a call on 01908 774320 or click here to ping me an email and let's see how I can help you.


literature (like the sun) is from the East to the West. . ."
As both a reality and an interpretive problem, the American West has retained its long-established hold on the attention of our scholars. And the same is true of Western American literature: evidence of the West as imaginative subject, state of mind, and setting for the handiwork of the artist, which exists already in a considerable corpus and continues in some quantity to be produced. In such circumstances, what we must be ready to seek are the grounds for this ongoing corporate fascination with lands west of Omaha, Topeka, Oklahoma City, and Ft. Worth and east of the High Sierras—the "real West" of mountain, desert, and forest lands. What, we must inquire, sets the West apart from other contexts for searching out patterns in the American past, calling forth the ingenuity and engaging the spirit of its sons and daughters as does no other region? And what does its emergence in our collective self-consciousness as both place and possibility signify for any account of our works, our goals, our purposes, and our achievements as a society? The flood of books about the West obliges us to answer such questions even more than seemed necessary before the archetypal, generic West began to recede into memory and the shadows of a distant past. For we cherish our recollections of the West as internal experience even if we have never seen it with our own eyes, imagine what it was first like when Americans came there, even if our families had no part in the great migration in that direction or in its aftermath.
At the level of immediate encounters, the West presumes the experience of a "given" nature in its most stubborn forms: of realities that existed prior to our conception of them and will survive after our adventures with the providential are at an end. The Western writer in some measure grounds his creativity in remembrance of such confrontation, or in his impressions of characters thus grounded. Place is a character in any story that he knows. In Wolf Willow (1962), his wonderful evocation of life as a boy on the prairie of Saskatchewan, Wallace Stegner begins his version of this perennial act of imaginative recovery by calling up the overwhelming smell of trees along the Frenchman River—trees that give to his narrative its tide. Working outward from this core of weighted recollection, he remembers the boy who had known this smell, finds him hidden away in his mature consciousness where his survival guarantees that the cosmopolitan author and man of letters will always know "where I came from," however puzzled he may be about the meaning of his existence.
So many Western writers have memories of this sort that the standard history of their achievements, A Literary History of the American West, includes separate essays on extended lyric celebration of some feature of the Western natural scene, along with sections of larger chapters on how this impulse mixes readily with other elements in the imaginative creations of Western essayists, novelists, and poets. These writers make (in comparison with other parts of our nation's literature) a plethora of books on this theme, presuming still a nature that is powerful in its own right and capable of enforcing its claims on our attention because they agree with Stegner that wilderness "was the challenge against which the character of our people was formed." And for these writers, the frontier experience, even if only as a memory, still signifies. In such a context the whole person is engaged, not just the discursive reason. The challenge is not so much a matter of historic trends or social forces as it is the possibility of principled action proceeding from individual choice. The assumption is that character counts even though human beings must be recognized for the elemental creatures that they are, with no sentimentality expended on the fact that they "are in constant rebellion against the facts of existence"—like the hero. Bo Mason, in Stegner's most important novel, The Big Rock Candy Mountain (1943).
One may readily acquire some sense of the special relation of Western accounts of life in the wilderness with the serious fiction written in or about the region by reading a good sample of the more than one hundred titles already published for the Western Writers Series at Boise State University, an exceptional melange of pamphlets dealing with all kinds of Western literature. Evidence of the species of direct experience unmediated by preconception to be expected as part of the background of Western American literature shows up in the work of Frank Waters, Edward Abbey, Jack Schaefer, Mari Sandoz, Walter Van Tilburg Clark, H.L. Davis, Stegner, and many others. Even from the brief discussion in the Boise State pamphlets considered as a series, it is apparent that this literature could not exist without reserving a significant place for such an ingredient. Which keeps almost all of this writing, even if opinionated and garrulous, from being doctrinaire. For imagining the West is an activity full of surprises, mysteries, and unsettled questions—like a journey into territory for which there are only a few maps, and none of them dependable.
Although in Western American literature the central negotiation with nature is private and individual, it leads back to a recognition of the need for human society, for a common life and empathy with our own kind who share with us the problematical situation with which we all contend. An instance of this close balance between personal effort and social bond is in Frederick Manfred's Lord Grizzly (1954).
In this carefully researched novel about the famous mountain man, Hugh Glass, the protagonist is mauled by a great bear and left for dead on the plains. Filled with anger at being deserted by his hunting companions, Hugh struggles through unrelenting pain some two hundred miles, back to Ft. Kiowa and shelter. As his ordeal begins he is consumed with hatred for those who have abandoned him. But he has a dream of another bear that follows him—a benign, almost playful presence—through the badlands toward the company of man. In the process Glass comes to see a cowardly pattern of desertion and isolation caused by his own life and forgives his "boys" for what they have done out of fear. The new man who returns from the wilderness is no longer the hunter who would dominate and roam. Hugh's strength to forgive is still an individual strength—though in part a strength to find God's shadow or representative hidden behind the particulars of an immediate event. The intensity of that experience is a precondition of the mountain man's quasi-biblical interpretation of his own adventure; and the Christian heritage in the book is suggested mostly by narratives, not abstract propositions—especially the old story of Jacob, the angel, and their contest. Only this time there are two bears instead of an angel.
But as important as direct experience absorbed without preconception is for the writer of Western literature, the West as imaginative space and possibility is an even more important notion for the interpretation of this corpus. To quote Wallace Stegner once more, this time from The Sound of Mountain Water (1969), wilderness is "the geography of hope." And the continued existence of wilderness as a significant feature of the American West helps to sustain our corporate recollection of westering, of how the old America found itself in that labor—and found also a set of paradigms for living. These forms for response to challenge have continued to be useful to the inheritors, even though they have not heard the sound of mountain water, smelled the wolf willow tree, or wrestled with the bear.
One further observation. New Englanders. Southerners, and the commercially minded Americans of the Middle States, as I have argued before, brought a filter with them as they extended westward civilizations that they knew and loved. In blocking them off from direct transactions with the West, these overlays also inhibit their apprehension of the majesty of nature: that which is numinous and wholly other. Writers concerned with the mountain West are not often thus constrained. They understand what Wordsworth meant by "that beauty which hath terror in it," which brings to us both awe and exaltation. The West as ground for religious experience, a land resilient in resisting intruders and not easily subjected to our will, is not to be underplayed, though it fosters religion of a very Protestant kind, with each man a church of his own as he contemplates what God hath wrought.
For reasons detailed in my account of how we go about imagining the West, I do not expect to see any great falling off in the volume, intensity, or artistic value of Western writing in the foreseeable future. For even though it is evident that Hollywood and the major television networks do not so much depend on Western materials as was once the case, it is also true that that shift has more to do with the intellectual and political bias of those who generate these entertainments than with the attitude of the nation toward serious treatments of life as lived in the Western setting or under the terms prescribed for usage by the Western imagination. Moreover, the academic industry of interpreting the West as history or literature is on its way toward achieving some definitive shape. In the process, a distinctive culture is coming toward self-consciousness of a variety it had not previously known.
In examining the evidence supporting these remarks, I should acknowledge the contributions of the Western American Literature Association and of the Western and Southwestern Historical societies. Journals like Western American Literature, South Dakota Review, Southwestern Review, Prairie Schooner, and Southwest American Literature watch attentively the flow of publications that deal with westering and wilderness or the enterprise of knowing what these words mean. The University of Nebraska Press has accepted as its role keeping in print the classic texts of Western American literature. In this work they have been frequently supported by the presses of the University of Texas at El Paso, Texas Christian University, Southern Methodist University, Utah State, and the University of New Mexico. The new press at the University of North Texas has also made an ambitious beginning. With the history of the American West, the University of Oklahoma Press has, over a period of almost fifty years, assumed a special responsibility. And the Western Writers Series, with titles ranging from Richard Etulain's Owen Wister through Dorys Crow Grover's John Graves, will, when completed, be a basic introduction to the writers who constitute this field. What began in spontaneity has been translated into art. What had its origin in unplanned encounter has matured with reflection into an understanding of hidden connections, which together struggle toward making up the ground for a literary tradition. This process as it emerges should be an encouragement to those who do not believe that the United States and its cultural development are a finished business. For as concerns the operation of the imagination in dealing with the American West, the evidence is altogether to the contrary.
From the November 1991 issue of Chronicles.


For those who're fortunate, you might have job that you love. A range panel comprised of artists, group representatives, and individuals from the Safeway Foundation and SEEDArts will select an artist utilizing the following standards: high quality and strength of previous work as demonstrated within the submitted supplies; demonstrated data in creating murals; demonstrated capability to create a unique and fascinating artwork acceptable in idea, materials and scale for this undertaking; availability to work and complete work by April 1, 2018.
Artists could use the whole wall or a portion of their design. Nice artists are normally self-employed. The Job Financial institution is our region's useful resource of job alternatives in the arts and culture industry. This chief will have a keen understanding of how RACC's programming, grantmaking and advocacy instantly affect the greater group's arts and cultural organizations, artists, artwork lovers, and the historically underserved communities of coloration, immigrants and refugees, LGBTQIA and people with disabilities.
The position has an educational function and works collaboratively with the curatorial workers to develop and implement programs that help the museum's mission. Beneath the course of the Govt Director, the Gallery and Program Director plans and manages the exhibitions and events of the Effective Arts Center. Goals to create neighborhood impact by broadening arts and culture participation at Langston Hughes Performing Arts Institute, an historic landmark cultural facility in the coronary heart of the Central Area neighborhood of Seattle.
● Solo artists or group makers might apply. Experience with personnel and price range administration, workers development and training, and team building. The Senior Curator is a liaison to the inventive group in Seattle and an ambassador to the national and worldwide art group. Salaries range widely for wonderful artists and are depending on their talent, expertise and the extent of intricacy used in their work.
The Regional Arts & Culture Council (RACC) is in search of an Government Director to work with the Board, workers and group to construct and achieve an thrilling new imaginative and prescient for the Arts in a contemporary, progressive region. Acknowledged as a defining drive in the various space movement, MoMA PS1 stands out from different major arts establishments by way of its distinctive method to exhibitions and direct involvement of artists.
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An essential piece of HAL, the FileIO class facilitates easily writing to and reading from files. this is important for collecting data from your models as well as systematically paramaterizing them. the API for the FileIO object is discussed.
"a" creates a FileIO in append mode, this FileIO is able to append to an existing text file or write to a new file.
"wb" creates a FileIO in write binary mode, this FileIO is able to write to binary files.
"ab" creates a FileIO in append binary mode, this FileIO is able to append to an existing binary file or write to a new file.
make sure to call this function when finished with the FileIO. The FileIO uses buffers internally to make writing more efficient. Without calling Close() the buffers may never be fully written out.
returns an array of strings,ints,or doubles, etc. Each entry is parsed using the delimeter.
returns an ArrayList of arrays of strings,ints,or doubles, etc. Each entry is parsed using the delimeter. Each array in the ArrayList contains data from one line of the file.
writes the contents of the provided array to a file, entries are separated using the delimiter.
read the next single value from the binary file.
fills the array arugment with values read from the binary file.
writes a single value to the binary file.
writes every entry in the array to the binary file.
the multiwell experiment class will visualize many models simultaneously on a single GridWindow. It can also run the models in parallel for better throughput.
the constructor for the MultiWellExperiment class. numWellsX, numWellsY define the number of well (model) rows, models is an array of the starting conditions of the models. visXdim, visYdim, scaleFactor define the x pixels, y pixels, and scaling of the visualization of each model. borderColor defines the color of the separator between models. StepFn is a function argument that takes a model, a well index, and a timestep as argument, and should update the model argument for one timestep. ColorFn is a function argument that takes a model, x, and y, and is used to set one pixel of the visualization.
runs a multiwell experiment for a numTicks duration. if the multiThread boolean is set to true, the model execution will be multithreaded.
runs a multiwell experiment for a numTicks duration. If the multiThread boolean is set to true, the model execution will be multithreaded. Saves every recordPeriod fames to a gif.
The ModuleSetManager class is used to store and use module objects. The type argument is the baseclass module type that the ModuleSetManager will manage. For a semi-complete example of the concept in action, see the ModuleSetExample code in the Examples folder.
The VarSetManager class maintains a count of double variables that are requested for an agent class that implements the VarSet interface. This tool is useful along with the ModuleSetManger to add agent variables that are only manipulated by one module. See the ModuleSetExample code in the Examples folder.
generates a new variable as part of the var array, returns the index of the variable.
adds a new variable set to the given agent. does nothing if the variable set already exists for that agent.
call this with the parent set to null to create a new phylogeny. The removeLeaves option specifies whether the phylogeny should continue to store dead leaves (lineages with no active individuals). This should also be called whenever a new clone is created, along with IncPop to add one individual to the new clone.
sets the active population size for this genome to a specific value.
adds an individual to the genome population, should be called as part of the initialization of all agents that share this genome.
removes an individual from the genome population, should be called as part of the disposal of all agents that share this genome.


We have branches throughout Wales and the South West of England, click on a branch below to view more details.
Originally in Bridgend Industrial Estate, we moved into the Pyle head office in 2004 There are now 11 people working here, with Administration Staff, Accounts, Purchasing, IT, Senior Managers and Company Directors all based at this office.
Cross Hands branch opened in 1989 and thanks to a large and loyal customer base it quickly outgrew the small unit it occupied. After moving to a much larger unit a few years later in the same location, the level of expertise of the staff had grown dramatically and we now employ ten staff here.
With our experienced staff located in Hereford, we are supporting the local transport industry customers who have a wide and varied requirement for commercial vehicle parts for both newer and also a number of older vehicles and trailers. Many of these customers operate vehicles that are specialised or highly suited for either urban or rural environments.
Our branch serving Devon was originally based at Cullompton. The unit we occupied was far too small and simply did not allow us to expand the range of products or even stock more than a basic number of parts. After relocating to Heathfield near Newton Abbot, we were able to hold much larger stocks and an extensive range of commercial vehicle products.
Our branch at Swindon in Wiltshire benefits from a great geographical position that allows us to offer a commercial vehicle parts delivery service that now even extends as far as the south coast. In partnership with many of our suppliers, and not just at this branch, we are now offering services that greatly reduce vehicle down time and as a result save vehicle operators money.
After many years trading on Bridgend industrial estate, and during that time extending the number of units we occupied, the decision was made to re-locate this branch to Taffs Wells near Cardiff in the shadow of the beautiful late 19th century "fairy tale" castle "Castell Coch". From this location we are ideally located to offer local part delivery services into Cardiff or up the A470 to the South Wales valleys.


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· Students will attend their first period class.
· 10:45 arrive at ITZ, line-up and receive instructions from ITZ staff.
* Unlimited mini bowling, bumper cars, rock climbing (closed toed shoes required for rock climbing wall), laser tag, laser maze, and unlimited video games (unlimited video games does not include redemption ticket, coin action & prize games).
· 2:04 final roll check after we board busses.
· 3:100 arrive back at Grandview JH.
Ø What do we wear? Band shirts are required- students will not be allowed to travel without their band shirt. GVISD dress code shorts or jeans, and closed toed shoes (some attractions require closed toed shoes).
Ø Will I need extra money? No, all-you-can-eat pizza, and drinks are included, as well and access to all attractions. Souvenirs & snacks are not included. Prize type games are limited to 60 points in our package, after that you may buy additional points.
Ø Who do I call if there is an emergency at home? Please call the JH office, they will be able to reach Mr. Hudson, or Mr. Brown.
Ø Will my student be able to ride the bus home? Yes, barring an unforeseen traffic problem we expect to be back in Grandview by the regular school release time.
Ø How many chaperones are going on the trip? We are taking seven GV ISD teachers and several parents have volunteered to help.