In today's blog post I'm going to continue thinking about how to create self-directed learners: learners who are excited, engaged and continually making decisions on their own.
The number one concern I hear in my travels is: this. How do I help my students continue doing quality work during Reading and Writing Workshop even when I'm not working with them?
Really, the question being asked here is how do I help my kids become self-directed learners?
This post will continue giving you strategies on how to address this. Specifically, this post will focus on ways to conduct minilessons that not only teach new content, but also help kids become more self-directed. For the purposes of this post, I am speaking about Writing Workshop, but these ideas would hold true for Reading Workshop, as well.
On most days, make your minilessons invitations rather than mandates.
If you have been doing Writing Workshop for a while you've probably heard this suggestion. What I want to focus on is how structuring a minilesson as an invitation supports self-directed learners and how organizing a minilesson as a mandate gets in the way. As I have said in previous blogs, a vital part of being self-directed is the ability to make individualized decisions that help you move through the writing process. By asking kids to stop what they are doing in their writing and to do what you are teaching in your minilesson every single day takes away virtually all of your kids' decision making.
One of the many reasons that kids are not self-directed is because they don't have an in-depth enough understanding of what you taught and therefore are unsure about how to try it in their writing. That's yet another argument for making your minilessons invitations rather than mandates, You do however want to ensure that everyone eventually does understand the concept enough to try it and then add it to their repertoire.
Because of that, concepts in Writing Workshop should be taught over time so that you can go deeper, into an idea, as well as untangle confusions that are bound to arise. The hope of course is if you teach a few minilessons over time on the same concept, your kids will have a better understanding of it and will be able to find times and places to try it out.
I just started reading Opening Minds by Peter Johnston. All of Peter Johnston's work revolves around the idea that how you say something has a major impact on students. I couldn't agree more!
The language that you use in your minilesson can empower kids to be self –directed or it can make kids believe that their job is to follow your directions. Look at these two different endings to minilessons and imagine how this language would hit your kids' ears.
"If you feel like today's lesson will help you move forward, go ahead and try it. If it's not going to help you today or you feel you need to learn a bit more about it over the next few days, tuck it into your back pocket for another day.
Both of these endings let kids know that they will eventually try out the minilesson. The first one though asks kids to make decisions and the second one asks kids to follow directions. If we want kids to be self-directed, they have to be making decisions all of the time, every single day.
It's also important to give kids some planning time before they go off to write. Again, here is some language that helps kids to see themselves as active decision makers.
Once again, this language suggests to your students that you have full faith that they can do quality work the entire Writing Workshop. With the Common Core Standards asking for mastery, it reminds us how important it is for our kids to not waste a moment of their Writing Workshop and to use that time to practice what we've been teaching them across the year.
A second grade teacher that I work with at PS 230 has her kids not only say their plans out loud to a partner, but they also write their plans down and then reflect at the end of Writing Workshop on whether or not they were able to accomplish that plan.
What questions or concerns do you have about minilessons? Are there other ways that you have found that you can use them to help create more self-directed learners? I hope to hear from you.


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Realtime Robotics, Inc Awarded Competitive Grant from the National Science Foundation
in In the press, On-going research, Updates
Small Business Innovation Research Program Provides Seed Funding for R&D
Boston, MA, July 3, 2018 – Realtime Robotics has been awarded a National Science Foundation (NSF) Small Business Innovation Research (SBIR) grant for$225,000 to conduct research and development (R&D) work onRisk-Aware Motion Planning for Autonomous Vehicles.
This R&D work will change the way that autonomous vehicles plan their motions, particularly in challenging urban driving scenarios. Realtime Robotics is working on a special-purpose computer processor that can plan thousands of times faster than existing solutions, and this speed will enable it to make many plans at a time, each of which considers a different possible set of behaviors from the other agents—cars, bicycles, pedestrians—in the environment. This technology will enable risk-aware, normal speed driving, which is critical for widespread adoption by the general public.
"The National Science Foundation supports small businesses with the most innovative, cutting-edge ideas that have the potential to become great commercial successes and make huge societal impacts," said Barry Johnson, Director of the NSF's Division of Industrial Innovation and Partnerships. "We hope that this seed funding will spark solutions to some of the most important challenges of our time across all areas of science and technology."
As explained by Peter Howard, CEO of Boston-based Realtime Robotics, "The new technology is a game-changer for autonomous vehicles, which currently look impressive on the freeway, but drive slowly and haltingly in urban environments. Our technology will make autonomous cars drive like humans—in that they drive at normal speeds and plan for unpredictable behaviors—just much better. Computer processors don't get distracted by their phones or drowsy after long hours of driving."
Once a small business is awarded a Phase I SBIR/STTR grant (up to $225,000), it becomes eligible to apply for a Phase II grant (up to $750,000). Small businesses with Phase II grants are eligible to receive up to $500,000 in additional matching funds with qualifying third-party investment or sales.
NSF accepts Phase I proposals from small businesses twice annually in June and December. Small businesses with innovative science and technology solutions, and commercial potential are encouraged to apply. All proposals submitted to the NSF SBIR/STTR program undergo a rigorous merit-based review process.
To learn more about America's Seed Fund powered by NSF, visit: https://seedfund.nsf.gov/
About the National Science Foundation's Small Business Programs: America's Seed Fund powered by NSF awards $200 million annually to startups and small businesses, transforming scientific discovery into products and services with commercial and societal impact. Startups working across almost all areas of science and technology can receive up to $1.5 million in non-dilutive funds to support research and development (R&D), helping de-risk technology for commercial success. America's Seed Fund is congressionally mandated through the Small Business Innovation Research (SBIR) program. The NSF is an independent federal agency with a budget of about $7.8 billion that supports fundamental research and education across all fields of science and engineering.
Meet Realtime Robotics' CEO and Chief Roboticist

redpajama_set_name: RedPajamaCommonCrawl


Scholarship Essay Examples | College.
Scholarship essay examples can be hard to find, and errors even harder. Look at these two for essay samples with errors to judge yours, and how to improve.
Scholarship Essay Example 1 addresses the following question: "Choose a book or books that have affected you deeply and explain why." In this case, the applicant has chosen the novel Germinal by Emile Zola. The essay is strong and well-written, although not without its flaws.Tennis became to be more than a passion. 434Words 1Pages Why Do I Need This Scholarship currently I am a senior at. After high school I plan to go to college and major in Nursing and minor in Physical Therapy. I still remember how uncomfortable it felt when I missed lessons and tuitions due to illness. I never wanted. 519Words 2Pages Why Do I Deserve This Scholarship Why do I Deserve This Scholarship My dad once told me, once you find your passion, your whole world will change. 255Words 1Pages Why I deserve FoR Scholarship? Why I deserve the FoR scholarship Im criticized, scholarships Essay Examples Why I Deserve This Scholarship but all your bullets ricochet, this is a line from the song Titanium by David Guetta.The scholarship essay example 2 question (Who has been the most influential person in your life?) is a common scholarship prompt. The example posted here is a winning scholarship submission that deals effectively and affectionately with the question.Further, as they consider nursing scholarship essay examples, students may find it necessary to tell details about their lives. Biographical information, such as where their parents lived and worked, how many siblings they have, and where they went to high school, helps donors discern people's need for the funds. Sometimes organizations favor applicants whose parents lived or worked within a particular area.
This is a scholarship essay sample for MBA that aims to secure a place in business school. It offers you an understanding on how to write a flawless business scholarship essay example.
I still remember how uncomfortable it felt when I missed lessons and tuitions due to illness. I never wanted. 519Words 2Pages Why Do I Deserve This Scholarship Why do I Deserve This Scholarship My dad once told me, once you find your passion, your whole world will change. 255Words 1Pages Why I deserve FoR Scholarship? Why I deserve the FoR scholarship Im criticized, scholarships Essay Examples Why I Deserve This Scholarship but all your bullets ricochet, this is a line from the song Titanium by David Guetta.


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redpajama_set_name: RedPajamaGithub


Sweet Pea I: The Demise of Innocence (1968-70) At seventeen Johnie is no longer a child but still full of virgin innocence—and defiance. Her final year of high school isn't exactly a picnic as she endures the untimely deaths of two friends, a third disappears on Prom night and a rocky relationship with a jealous boyfriend. The summer after graduation she encounters her first 'real' love and the loss of her virginity to a soldier bound for Viet Nam. By fall, she discovers the world of factory employment. As fate intervenes in every avenue of her life, throughout the harsh winter of 1970, she learns growing up involves a lot more than physical loss of her virginity. https://www.amazon.com/dp/B075BQKXSB/ref=sr_1_1?s=books&ie=UTF8&qid=1504478843&sr=1-1&keywords=The+Demise+of+Innocence Description of the Sweet Pea Trilogy: To one man she gave her virginity; to another she gave her heart. One, she would mourn. With the other, she would share life's triumph and turmoil. With both she would endure times of love, and passion and complete happiness as well as times of despair, confusion, and sorrow. One day at a time—each day, building unforgettable memories.


The award ceremony was attended by Her Excellence Silvia Davidoiu, Romania's Ambassador to the Republic of Austria, Sergiu Nistor, Presidential adviser and Irina Cornisteanu, manager of the Romanian Cultural Institute in Vienna. Also, the event was attended by Herbert Ohrlinger, manager of the Paul Zsolnay Publishing House.
Last autumn, Mircea Cartarescu had held a promoting tour in German-language regions with his last volume of the "Blinding" Trilogy, "Die Flügel / The Right Wing" (translated by Ferdinand Leopold), organized by Paul Zsolnay Publishing House in partnership with the Romanian Cultural Institute. The trilogy was published by the Austrian Publishing House in the years 2007, 2011 and 2014. For "Der Körper / Corpul" (translated by Gerhardt Csejka and Ferdinand Leopold, 2011), the writer and the translators won in 2012 the International Prize for Literature of Haus der Kulturen der Welt in Berlin. At the beginning of the year 2015, Mircea Cartarescu also won the Prize for European Understanding in the opening of the Leipzig Book Fair.


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Reger Viola Suites Bianchi
Max REGER (1873-1916)
Violin Sonata No.7 in A minor [22:57]
Viola Suite No.1 in G minor [12:27]
Viola Suite No.2 in D major [10:31]
Viola Suite No.3 in E minor [10:01]
Luigi Alberto Bianchi violin and viola
Recorded May 1992 (Sonata) and June 1977 (Suites) DDD
Dynamic DW8008 [56:02]
Luigi Alberto Bianchi makes a strong case for Reger's Viola Suites. While they are clearly very difficult, they are not filled with overtly virtuosic music, so their continuing attraction to violists may simply be down to the general paucity of their repertoire.
But Bianchi demonstrates that there is some fine music here. He has a rich, warm tone, but that doesn't impede his agility around the top end of the instrument. In general, it is very secure playing, but very fluid too. He often shapes phrases with some quite extreme rubato at both ends, although his dynamics tend to be more stepped, distinguishing one phrase form the next.
Reger isn't known as a melodist, mainly because his themes tend to lack memorability, but there is a strong lyrical dimension to this music that Bianchi brings to the fore. I love the way that he deals with Reger's often rambling phrase structuring. Rather than try to focus the end of the phrase on the (often ambiguous) cadence, he usually prefers to let it trail off, as if the composer has lost his train of thought and the performer has no intention of reminding him.
As is probably obvious from the above comments, this is not the sort of reading that emphasises the neo-Baroque dimension of the Suites. In fairness, it is not as pronounced here as in Reger's Cello Suites, but even so, Bianchi seems intent on positioning this music squarely at the end of the Romantic period, with all thought of Bach all but forgotten. There are a few exceptional movements, the allegretto third movement of the Second Suite for example, but even here the Baroque formality is only apparent in the dance rhythms and not in any particular metrical discipline in the performance.
Bianchi's viola has an interesting story behind it. It is a 1595 Amati, 'modernised' (and Bianchi himself has surprisingly few reservations about that process) by the William Hill workshop in the late 19th century. The instrument was stolen from him in 1980 and only returned in 2005 when it was found in a barn. He is obviously more careful with it now, as it currently resides in Cremona, no doubt in some specialist repository. There are photographs of it in the liner and it is clearly a beauty.
The sound quality is fairly good, but there are a few glitches here and there that really stand out, especially when listening on headphones. They sound like tape edits, but given their positions (one is in the first note of the Second Suite) that can't possibly be the case. A gremlin somewhere in the mastering process perhaps?
Bianchi's one big mistake on this disc is to open it with Reger's Seventh Violin Sonata, performing it himself on the violin. He is clearly a competent violinist (he started playing in the early 80s, presumably as a practical response to the theft of his viola), but his skills on that instrument don't come close to his mastery of the violin. As a result, the Sonata sounds precarious throughout, with the intonation and the articulation always only just coming up to scratch. His timbre in the top register of the violin also leaves something to be desired, a great shame considering how elegantly he plays at the top of the viola fingerboard.
A disappointing filler, then, to an otherwise satisfying disc of Reger chamber music. The sheer Romanticism of the readings make this a somewhat idiosyncratic reading. But then, it is solo chamber music, so you can't blame the player for doing things exactly the way he wants.
http://www.musicweb-international.com/classrev/2011/Apr11/Reger_DM8008.htm
Labels: Dynamic, Luigi Alberto Bianchi, Reger
Neils Gade: Piano Trios
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Palestrina: Missa Aeterna Christi munera
Lassus: Laudent Deum, Andrew Nethsinga
Quatuor Diotima: Berg, Webern, Schoenberg
Zehetmair/Killius: Manto and Madrigals
Mozart Requiem Jordi Savall
Jörg Widmann: Messe, Elegie


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home > education > colleges > new york colleges
College Profile: Dominican College of Blauvelt
The aim of Dominican College is to promote educational excellence, leadership, and service in an environment characterized by respect for the individual and concern for the community. The College is an independent institution of higher learning, Catholic in origin and heritage. In the tradition of its Dominican founders, the College fosters the active, shared pursuit of truth and embodies an ideal of education rooted in the values of reflective understanding and compassionate involvement.
Committed to building its programs on a strong liberal arts foundation, the College maintains a student-centered climate and offers an array of degree opportunities in the liberal arts and sciences, business, and the professions on the undergraduate and graduate levels. Although the majority of its students are from its geographic region, to whose emerging educational needs it is particularly responsive, its diverse student body includes national and international representation of all ethnicities and religions. Dominican College is dedicated to the principle that its educational programs and services must be both challenging and supportive, distinguished both by high standards and by attention to the needs and potential of the individual student.
The College fosters relationships between students and faculty through small, personal classes. Our convenient location in the scenic Hudson Valley area, just 17 miles from New York City, feels like a home away from home, in our friendly, yet challenging and supportive atmosphere. Since 1952, Dominican College has provided students with the environment to cultivate unique bonds and life-long relationships.
With a student/faculty ratio of 13 to 1, each person receives the assistance and challenge she or he needs to realize personal aspirations and to become a contributing citizen.
The College is a liberal arts institution which provides professional programs in teacher education, athletic training, social work, business administration and the health care professions of nursing and occupational and physical therapy. Over thirty programs, many of which are nationally accredited, are offered on the undergraduate and master's level. The 8,000 members of our Alumni make a significant difference in the hospitals, schools and businesses where they serve.
470 Western Highway
Orangeburg, NY
The aim of Dominican College is to promote educational excellence, leadership, and service in an environment characterized by respect for the individual and concern for the community. The College is an independent institution of higher learning, Catholic in origin and heritage. In the tradition of its Dominican founders, the College fosters the active, shared pursuit of truth and embodies an ideal of education rooted in the values of reflective understanding and compassionate involvement. Committed to building its programs on a strong liberal arts foundation, the College maintains a student-centered climate and offers an array of degree opportunities in the liberal arts and sciences, business, and the professions on the undergraduate and graduate levels. Although the majority of its students are from its geographic region, to whose emerging educational needs it is particularly responsive, its diverse student body includes national and international representation of all ethnicities and religions. Dominican College is dedicated to the principle that its educational programs and services must be both challenging and supportive, distinguished both by high standards and by attention to the needs and potential of the individual student.
Other Names Dominican College
Campus Setting Suburb: Large
Dominican College of Blauvelt Website
1,277 Fall Admissions
Yes Doctor's degree No First-professional degree
Human Resources Management/Personnel Administration, General.
Family Practice Nurse/Nurse Practitioner.
Computer and Information Sciences, General.
Education/Teaching of Individuals with Multiple Disabilities.
Health Services Administration.
Finance and Financial Management Services, Other.
Marketing/Marketing Management, General.
Occupational Therapy/Therapist.
Education/Teaching of Individuals with Vision Impairments Including Blindness.
Teacher Education, Multiple Levels.
American/United States Studies/Civilization.
Question and Answer about "Dominican College of Blauvelt"


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BLDRADIO
FEATURED ARTIST >
SPONSORS PAGE
BLD ENTERTAINMENT
COMMERCIAL ADVERTISEMENT
Shenica Coleman infuses new album with inspiring message for women
ATLANTA, GA – Everything about Shenica Coleman's life is an attempt to inspire and empower other women.
From the moment she was born into a family made up of strong, powerful women, Shenica has felt a calling to lead other women to feel confident and self-assured. Though she prefers to empower women from the background – championing others while she shies away from the limelight – she put herself out there a few years ago when she released the book "Ladies Rise Above Your Emotions." The book was so successful that it has led to regular conferences across the country that she calls "Queenmenship" conferences – and thousands of women are traveling from all over the U.S. to hear what she has to say.
"It's all about valuing women and our potential and the beauty of women overall," Shenica said. "It makes my blood boil when I hear women being referred to with derogatory names, or when we are not properly described by our beauty as women. So I introduced these ideas through various events, and that's when I started referring to women as queens. It's born from a lot of research into the level of functioning we should have, and how we should view ourselves when we embrace the role of being a queen."
As these events have evolved over the years and more and more women travel from all over the country to share in the bond and motivation that comes from their time with other women, Shenica's voice has continued to gain weight. Her fan-base has expanded, and now her lifetime of music is reinforcing her words – both written and spoken – with the release of a new album called "Queenmenship (Jewels)."
Much like the rest of her work with women, this new 12-song album explores themes inspiring women to feel empowered in their lives. She said that she hopes her music will inspire women to believe that if they will consider changing certain things within themselves, it could inspire change around the world.
Shenica said though she has dedicated much of her adult life to writing and speaking, she has also had a passion for making music. She grew up in a musical family – with uncles and grandparents all performing and recording professionally at one time or another. She remembers being on tour with family members growing up, and being introduced to the business side of the music industry at a very young age.
In 2001, she and her husband created Ride With Me Entertainment. Today her new album is being released under the label, and she said she hopes the unique qualities of her voice and the diversity of her sound will attract an even wider audience.
"What feels natural to me with my sound is something that I've discovered is unique and different to other people," she said. "I know I have a unique sound and approach to how I convey my music. There's a poetic aspect to it. Each piece within my album is very different and creative. And I believe the content is all very relatable and timely."
She said her music is often described as R&B or Soul with twists and turns along the way. And at the end of the day she said it's music that will hopefully inspire a lot of people. She said that though much of her music is geared toward women's empowerment, lyrically and instrumentally her music is so good that it will connect with all cultures and genders.
To listen to her music or to follow her on social media, please visit the following links:
Writer: Shenica N. Coleman
https://www.facebook.com/ShenicaColemanArtist/
https://twitter.com/Queenmenship
https://www.instagram.com/shenica_coleman/
http://www.jango.com/music/Shenica+Coleman
Yung K3y (@Yung_4_eva)
Ke'on Deshun Johnson (born June 3,1993) is a Hip Hop American songwriter known as Yung K3y born in Atlanta, Georgia at Grady hospital. Keon's early childhood was spent on the east side in Decatur with single mother, Thresinda Fortson. Around the age of 11 Keon found the love for music listening to artist like T.I, Lil Wayne & Drake, he picked up his pin and began writing rhymes. During his Grade school Keon, has won awards for rap contests and performed for numerous yearly fashion shows.
After join local rap groups around the area, performing a local bar & clubs in the metro Atlanta area, post high school. Keon decide to venture off on his own, with smash single SPIN IT roaring through the city, Yung K3y is set to release His Debut Mixtape later this year summer '17.
Deaon "Forever" Smith
Deaon "Forever" Smith a native of Gary, IN, began his musical journey at the age of 7 singing in the church choir. Guided by his mother evangelist Lee Gerther Smith, Deaon attended Emerson Visual and Performing Arts High School, where he began training in classical and jazz vocally along with piano. Deaon received further training in classical music while attending the University of Miami. Deaon's vocal range is from 1st tenor to bass baritone and his genres of music is R&B soul, Jazz, Classical and Gospel.
In 1989 he formed his first group called 'Message' and won the Indianapolis Black Expo Star Quest Gospel Competition. In 1993, Deaon formed the R&B group called 'Standing Room Only' which opened for artists such as Gladys Knight, R.Kelly, Chaka Kahn, Baby Face and the Isley Brothers. Standing Room only then recorded their debut album titled "Du the Du" with Waterproof Music.
Deaon has since evolved into a solo recording artist with not only strong vocal ability, but also the ability to pen his own singles. Performing some of the most action packed live performances, with his band and background singers. Deaon has amazing vocal versatility and a strong soulful sound; his live shows exhibit his passion for the music and his remarkable talent. Deaon has opened for artists such as The Ohio Players, Angela Winbush, Enchantment, Joe, El Debarge & The O'Jays. To top things off Deaon seized the opportunity to sing with Madonna in the 2012 XLVI Superbowl in Indianapolis, IN.
Deaon debuted his official music video for his hot single "Holding On" off the Forever Album now back with the follow up single "Mind Tease" off his upcoming untitled L.P. Deaon has been told by many that he has a "Luther Vandross" tone and the vocal swag of Dave Hollister. His vocal performances have been described as "Food for your Soul". When Deaons not at the studio or performing live shows he can be found doing commercials for Helen Wells Agency or at the theater performing in stage productions such as Color Purple, Betrayal Runs Deep, Dream Girls, Birth Of Soul, Hand Me Down Heartache and has also been featured in an independent film title "Avery Blues".
Recently relocating to Atlanta, Georgia to further his pursuits Deaon will be featured in the upcoming stage production of " Five Heartbeats The Musical".
Deaon Forever is available for live shows, features, singing teleagrams, voiceovers, event hosting & stage plays.
PLAYA FLY
Da Game Owe Me/
Playa Fly Shyt
As the South continues to enjoy unparalleled success in Hip-Hop, it would be a major crime to not acknowledge the majority responsible for the Dirty-Dirty's unearthly stronghold over rap music. So with that being said, it would be impossible, or better yet down right disrespectful, to talk about Southern Hip-Hop without recognizing the shear genius of THE Memphis Rap legend…Playa Fly.
An underground King personified…internationally street certified…immovable position on Memphis Mount Rushmore of iconic MCs…and living legend, can't be no one else other than a truly larger than life personality who towers as the perfect example of a real Playa and one that puts the "F" in Fly…Playa Fly!
In an illustrious career thus far that spans more than two decades, "The Ambassador of All Things Fly" has registered a jaw dropping 2,500 paid show performances and counting, of which he's worked with numerous other Hip-Hop heavyweights in the game to include, but not limited to, Young Dolph, Pastor Troy, Young Buck, Drumma Boy, Zaytoven, and Eightball & MJG.
Additionally, Playa Fly, who is the CEO of "Minnie Mae Muzik," a record label named in honor of his grandmother, has released countless hood classics, including "Just Getting It On" mixtape, "Fly Shit", "Moving On", "Just Getting It On" studio album, "The Game Owe Me", "Fly2K," which was released while he was in prison, "Prepare or Beware: Part 1 and Part 2", and "King of All Kings" mixtape hosted by DJ Scream of Hoodrich Ent. These and other classic hits cemented his status as Southern Rap Royalty.
Interviews & Performances
Book Playa FlyFor booking, please use the form below or call (678) 824-4FLY. You may also email booking@playaflyshyt.com. Please allow up to 48 hours for a response. Thanks!
Shows Music Features Merchandise Other
Attention!!! New Video Alert!!! "I Want Em All Dead" by Playa Fly & Pastor Troy. Directed by Chris Macken. Hit... http://t.co/B0ehGTNYcK6 minutes ago
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Copyright 2015 Minnie Mae Muzik - Playa Fly Shyt
Design by RaeShantael
Da Game Owe Me [prod by Drumma Boy] // Playa Fly -
RAPHAEL CRESCENDO - THE COME UP IS REAL
RAPHAEL CRESCENDO
born as Raphael Oldham was born in the city of Cincinnati, OH. Raphael started witting music at the age of 8 years old and moved to Atlanta, GA at young age to pursue his dream. Unfortunately Raphael Crescendo lost his big brother on April 16,2008. Raphael went through being homeless with his mother to being on the wrong side of the law. But he never lost his passion for his music. He was looking for his start and found it with Pharaohshus Music and Media. Raphael Crescendo is the next rnb hip-hop artist the sweep the nation. "DA COME UP I$ REAL" says Raphael Crescendo.
The Biography of Yvonne Johnson
Yvonne Johnson, international gospel artist, was born in the beautiful Island of Jamaica. She then migrated to Brooklyn, New York in 1981.
Yvonne has been singing from the age of five years. She accepted the Lord at the tender age of 16. Her passion for singing landed her into a music group out of New York called "Ephesians".
Yvonne relocated to Miami in 1988 where she continued her singing as a solo artist. She later joined a gospel group called the "Voices of Praise". Her Angelic voice captured the hearts of several audiences and as a result of this she was invited to be the featured Artiste at a Gospel Concert in Montserrat back in 1992.
Yvonne ministered at various cities in England namely Birmingham, Tottenham and Central London. In 2003 and 2004, she performed at several concerts in South Florida.
On November 13, 2004 Yvonne debut her first CD "Fly away". Most of the songs on this CD were written by Yvonne.
"Fly Away" and "You've Got to Make It" were nominated on the 2005 Caribbean Gospel Music Awards in New York.
Yvonne relocated to Atlanta, GA in 2005 where she continues to be a blessing to others in her ministry. Yvonne sings in the local churches throughout Atlanta.
Yvonne released her second CD entitled "He Will Make A Way" on October 9, 2010. Her favorite song on this CD is "Awesome God" birthed out of praise and worship.
Over the years, Yvonne had the awesome opportunity of directing several choirs in different assemblies. She is an excellent Praise and Worship leader under the anointing of the Holy Spirit. Yvonne is very passionate about worshipping God. Her singing continues to impact the lives of many. Her greatest desire is to reach out to the world through music.
She enjoys various types of gospel music such as worship songs, Reggae, Contemporary, Jazz, and Classics.
Yvonne is open to any opportunities that will not jeopardize her faith, and will accept the challenge to travel should the need arise.
Yvonne R. Johnson
Independent Artiste
DA NOKE- THE NOKEBOOK
DA - NOKE
Hailin from the rough streets of Fort Gaines, Ga brings Da Noke, who's also a member of Str8hood. Clay Co. (The poorest county in the State of Georgia) which is stricten with proverty and hustle witch is heard threw out The Nokebook, an orignal classic brought to you by yours truly, Da Noke. Here's the lead single 'Like Mama' which is full of soul pain and love, Enjoy more 2 come WATCH. 'im woke'
DA NOKE LIKE MAMA
JAEY TUNES
Grounded, well-rounded, influential with vast potential are onlya few choice words that sum up You World Global Media Group, Inc. well-versed artist 'JaEy Tunes'. The latest addition to the ever-growing hip hop movement of the "Dirty South," 24 year old Juston Edwards, respectfully known as "JaEy" is not just another fly-by-night hiphop artist whose longevity in the game will be based upon the latest sound-trend; Instead it is based upon the fundamental depth of understanding he has ofthis intricate web known as the "Music Industry." The youngest of three siblings born to Katie Waller and Timothy Edwards, Sr.on December 27, 1988 in Birmingham, Alabama, JaEy Tune'sgoal is to, "have people become a fan of my music and everything I stand for."
JaEy Tune's early childhood foundation was a structured one, and built on solid ground with having both parents living in the same household. However, about the age of 10, his parents decided to divorce, and JaEy Tune's world took a drastic turn.Following the divorce, his mother moved with her children to the harsh area of Bessemer, Alabama. It was there where JaEyTunes was first introduced to the "streets", and the knowledge of gang affiliation. He took on the likes of friends who were in the same situation as he, and from the one commonality of "grinding" together, a kinship was formed. From the age of ten up until the age of sixteen-seventeen was a struggle for JaEyTunes. His mind constantly toggled between staying in school,and grinding in the streets. He knew he had to attend school, but he also knew that in order to survive, he needed to do what was required of the streets. "When you're in the streets, you're in the streets, and you deal and do things pertaining to the streets;that's what's respected. It didn't matter that I played football and made good grades, because the streets didn't care about that."–JaEy Tunes
After receiving a phone call that her baby boys' life was in danger, Katie packed up her children once again and moved back to Birmingham. Back in Birmingham once again, JaEyTunes enrolled at McAdory High School in Jefferson County, Alabama. There he would start with the Yellow Jackets football team as the star running back and cornerback. A natural athlete,JaEy Tune's passion for music would lay dormant throughout his youth; in fact, his passion for music would not surface until the end of the football season during his senior year. With nothing else to do, he and his cousin had begun to hang out every day penning lyrics to homemade beats that they would create in the basement at home. It was then when he realized that he could actually write music on a level where people would listen to it and 'feel' what he was saying; lyrics that would separate him from the rest. When asked what made him to decide to get into the hip hop scene? "I never took music that serious. My cousin was more into music than me; it was him who started me to write poetry which then turned into rap. He was the one who first told me that I have 'it'." –JaEy Tunes
After graduation in the summer 2007 from McAdory High School, JaEy Tunes started his first semester as a freshman at Lawson State Community College in Birmingham, Alabama majoring in Business Accounting. With music on his mind, and success in his heart; in 2009 after graduating with an A.S.degree from Lawson State Community College, JaEy Tunesrelocated to Atlanta, Georgia to attend Clark Atlanta University where he would continue to study Business Accounting, and secure his placement amongst the dirty south hiphop movement. His big break came when Atlanta radio personality Osei "The Dark Secret" of V103 came to the ACU campus in search of college students interested in working in the music industry. This caught JaEy Tune's attention because he was a business student, and knew that this would be the perfect opportunity to learn the music business from the bottom up; therefore he took up on the offer to intern at the Atlanta base From the GroundUp record label. With aspirations of owning his own record label one day, JaEy Tunes gravitated to the behind the scenes position with the label with no qualm because he knew that he was in the perfect place at the perfect time; the perfect situation to learn the systematic flow of the studio, and the ins and outs of running a record label. Initially he got his start in rap as a member of the group The Boyz Next Door in 2010, but during that same year, he would break off from the group, re-invent himself and become a solo artist. While interning at the recordlabel, JaEy Tunes met Aaron "Gritty" Holloway, who would in time become one of the most influential people of his music career. Although he wasn't the first producer JaEy Tunes had worked with, "Gritty" was definitely one of the main reasonsJaEy Tunes started to take his craft more serious. "I don't know what he (Gritty) saw in me that day, but whatever it was, I'm glad he did." JaEy Tunes recalls. At the time, "Gritty" was the "in-house" producer for the label, and one day was in need of assistance with a "hook" for a track he and another artist was working on. "Gritty" asked JaEy to help out, and out of duty, loyalty and protocol as a team player, he quickly obliged their request, and penned the hook. Both "Gritty" and the other artist were impressed with the ardent approach JaEy Tunes brought to recording booth, so from that day forth; JaEy Tunes went from behind the scenes at the label, to behind the mic in the recording booth. Once he got in the booth; he stayed there and grinded his way up to the ranks of label mates with whom he had once worked for as an intern with the label.
His passion for music goes beyond the microphone; as his aspiration is to build an empire to the likes of JayZ, Russell Simmons, Sean Combs, etc… "The fact that hip hop gives you the opportunity to come from basically nothing, and to grow into something or someone who could make a difference, and whereyou can find yourself sitting at a round table with those who were already established or born with a silver spoon in their mouths; is reason enough to work hard at it knowing the love I have for it will allow me to make a living, and live my destiny at the same time." -JaEy Tunes
By embracing hip hop and delving his culture; JaEy Tunesadmires the fact that hip hop allows people like himself the chance to speak the voice of the hood. The culture of hip hop is his main influence, and is what he identifies himself with. Inspired by life's experiences, his lyrics are a reflection of the things he's experienced, and what he knows. When asked who would he like to collaborate with on a track; he stated "Future"; "His music is fresh, it's hot, and I would like to think that's where I'm going with my music."
In early 2013, JaEy Tunes released his debut mix tape; "The Tune Up". The mix tape features the hit single "45 Days"; the single is currently in heavy rotation on Atlanta hip hop and r&b stations, 94.5 and V103. "The Tune Up" displays hisdistinguished sound and versatile flow; with a plethora of hot tracks to be regarded. He is currently on a promotional tour in the southeast region of the United States.
What keeps JaEy Tunes humble is that he never sees himself asjust a rapper; instead he sees himself as business man with an opportunity to make a difference. His philanthropic endeavor is to give back to the hip hop culture generation, because he knows that every great man gives back into which he has gained from.One of his favorite books is The 7 Habits of Highly Effective People: by Stephen R. Covey; from which his favorite quote is derived: "begin with the end in mind."
Indeed: grounded, well-rounded, influential with vast potential are only a few choice words to sum up JaEy Tunes; it is these attributes that has brought him thus far and will continue to soar him to the top!
NJ-SHENELL
Shenell
Born in Brooklyn, NY raised in Newark, New Jersey now resides in Atlanta, GA. I'm 5'3 135 pounds and a
Jamaican descendant RUDE GAL! LOL
Now, what would you like people to be attracted to? My personality.
McDonald's or Burger King? Micky Deez
Sleep or sex? Sex,sleep more sex of course.
The person I would most like to meet is (Without saying Oprah, Michelle Obama and President Obama).
Bob Marley, Russell Simmons and Winnie Mandela
Can you cook? If so, what soul food
If you had to sleep with one woman who would it be? Jade Fire
What is the most important issue in the world today and why? Our youths, to me, are the most important issue children from being a newborn to their teen years. In some communities, a lot of children are growing up without their parents and by this, it's allowing the streets to raise their children. Where I come from, a lot of children are in the streets, selling drugs, committing petty crimes, having open sex, pregnancy or on drugs. It's sad to say that our generation has dropped the ball and these children are growing up without proper guidance, morale or any type of home training. Children so easily absorb negative influences and you have adults who condone the way their child act as if it's nothing. Not knowing that not raising this child properly or having patience, will affect that child's likelihood of being another statistic. Proper education is the key, being a parent and a role model. A lot of our youths don't have that nowadays, especially if you're living in a low poverty environment. I believe our children are our future, you may have some out of the bunch that do make it but what about those that don't, what can we do and what will we do to give them a chance in life? They have nothing to look up to because half of us are still drinking and drugging with our children.... To me, the youths are most important because we will be elders one day and these are the adults that will be taking our places. We must build a foundation and watch it construct into something that is way better than any blueprint we illustrated.
Do you own any adult videos? why everything is online hehehe
How old were you when you had your first kiss and paint us the picture? Wow! I was 10 years old at Hershey Park. His name is J.W. (to protect his identity) LOL
When did you know you could be a model? High School
Can we buy you a drink and if so, what kind? Ciroc & pineapple or a glass of Moscato
Ever had a one-night stand? NO!
Have you ever told a lie? Awww yeah
Did you just lie about having or not having a one-night stand? Nope
Lights on or lights off? lights off
The biggest misconception about me is. I'm bougie
Tell us something your parents don't know about you I can't even tell you . hehehe
Preferred type of underwear? boy shorts.
Whats your fetish? toys and shoes
NJ SHENELL
resides in Atlanta
born in jersey
for booking ^
@RecordingArtistDeLise007
RECORDING ARTIST; DeLise
2014 Georgia Arts Neo Soul & Poetry Awards Nominee and Triple, Indee Artist Music Award Nominee, DeLise's voice has been compared to the smooth, hush of Sade; the sexy, growl of Toni Braxton, John Legend, and even Rocker, Kelly Clarkson! She has recently been named one of Upscale/Ambi'ance Magazine's, Up & Coming Artists, 2013, and just completed a Red Carpet/Live Taping appearance at the 2014 Trumpet Awards in Atlanta, Ga! Hailing from the music city of Memphis, now residing in Atlanta, she has been recognized as one of BET Television's, best Indie artists; opened up for Showtime Television's Comedian Jay Reid, in Las Vegas; written and performed commercial jingles for Clear Channel Productions, has original songs playing nationwide and on KCEP Power88.1fm, Las Vegas, KCEP 100 FM, and internationally, via NGRA radio!
Since her recent nomination, DeLise is preparing for a performance in Atlanta for the Georgia Arts Neo Soul & Poetry Awards, along side notable artists as George Tandy, Jr., Xavier Lewis and other talented Artists!
Her CD, "Dream; Realized" by DeLise, garnered 3 Indie Artist Music Award Nominations, including "Best NeoSoul Album" & with the release of "Who Is DeLise", she intends to give the fans even more! With support as far as Europe, DeLise is destined to make her mark in the industry!
Make sure to go to the website at www.georgiaartsneosoulpoetryawards.com/nominate and vote DeLise as Up & Coming Neo Soul Artist, Female through May 31, 2014! Don't forget to purchase your tickets while on the website for the actual awards event, held on June 28, 2014 in Atlanta, Georgia!
DeLise currently has original songs in rotation & jingles running for Fox television & radio personality All Ova Town, Chris Brown; Joy LaShawn of Power 88 FM, Las Vegas, and wrote and performed the jingle for television's Healthy Living Show, looking to get picked up by OWN, TV!
Keep up with her via social media including Instagram @RecordingArtistDeLise007 and www.reverbnation.com./delisetmgrecordingartist
* Vote once per day, until May 31, 2014 for DeLise*!!!
CALL US
TO GET YOUR ARTSIT OR COMPANY IN THE FEATURED SPOT


Talk to anyone lucky enough to earn his/her livelihood through criminal appellate practice, and you'll likely hear some version of the following complaint: the Government is never held to the same standard as the criminal defendant on appeal. Whether it's waiver during the trial-level proceedings, or a purported waiver during oral argument or in the briefing, it often seems like appellate courts give the Government a degree of latitude that is not usually afforded to the defense. This case is an exception and a refreshing reminder to the Government that not dotting i's and crossing t's can have some meaningful consequences.
In United States v. Reyes-Rivas, the defendant/appellant argued during sentencing and on appeal that he did not meet the criteria for a "career offender" enhancement under section 4B1.1 of the Sentencing Guidelines. Specifically, he argued one of his priors – a Puerto Rico conviction for fourth degree aggravated battery – did not qualify as a "crime of violence." He also argued that the conviction could not qualify as a "crime of violence" under the residual clause of section 4B1.1. He reasoned that the Supreme Court's decision in Johnson v. United States, 135 S. Ct. 2551 (2015) applied to the career offender enhancement because the residual clause language in the Armed Career Criminal Act was almost identical to the residual clause language in the Sentencing Guidelines.
Michael Brownlee is board-certified as an appellate expert by the Florida Bar. He is a First Circuit CJA attorney and practices in federal appellate courts around the country. He is also the founding member of The Brownlee Law Firm. To learn more, visit appealattorney.com or email Mike at mbrownlee@brownleelawfirmpa.com.
In April, May and June the Third Circuit vacated convictions in three cases. The first, United States v. Lopez, addresses prosecutorial misconduct (Doyle error); the second, United States v. Vasquez-Algarin, addresses law enforcement misconduct (Fourth Amendment/forced entry); the third, United States v. Dennis, addresses trial court error (failure to give an entrapment instruction) in the larger context of reverse-sting stash house operations. Each opinion touches on policy concerns raised by the legal issues; the majority and Judge Ambro's concurrence in Dennis are particularly worth reading for anyone litigating stash house cases. The three cases were decided by three non-overlapping panels of judges.
No one likes a liar.
Well, almost no one. Chief Judge Kozinski seems to like liars, at least some of the time.
But, generally, lying leaves a bad taste in our societal mouth. This is true even when the police do the lying.
Tagged: "DRUG CRIMES", "Fourth Amendment" and "Tenth Circuit"
Longtime readers will recall the Twitter-stalking case. I've written about it here. The conspirators Volokh have written about it here. There's also been coverage in PC World, and the New York Times.
In essence, the government indicted William Cassidy for sending a lot of tweets on Twitter. This was charged as a violation of a federal anti-stalking law. His defense lawyers argued that this was protected by the First Amendment.
Yesterday, Judge Roger Titus of the United States District Court for the District of Maryland, issued an opinion dismissing the indictment.
The federal government has powerful tools to keep a person from exercising his constitutional right to go to trial – like crushingly long mandatory minimum sentences.
The government's use of mandatory minimums reminds me of the plea colloquy of a particularly honest client of mine.
The rumble in Rhode Island is over – Rhode Island won.
As frequent readers of this blog – and fans of the Interstate Agreement on Detainers – will recall, a fight broke out between Rhode Island and the United States Department of Justice over a man named Jason Wayne Pleau.
Mr. Pleau appears to have killed a man in the course of a bank robbery. The bank was federally insured (like just about every other bank in the country). The United States Attorney's Office in Rhode Island decided to bring a case against Mr. Pleau based on the charges.
Those tree-huggers over at the Wall Street Journal have published a characteristically liberal piece about how the federal government is throwing more of its citizens in prison for no good reason.
For centuries, a bedrock principle of criminal law has held that people must know they are doing something wrong before they can be found guilty. The concept is known as mens rea, Latin for a "guilty mind." This legal protection is now being eroded as the U.S. federal criminal code dramatically swells. In recent decades, Congress has repeatedly crafted laws that weaken or disregard the notion of criminal intent. Today not only are there thousands more criminal laws than before, but it is easier to fall afoul of them. As a result, what once might have been considered simply a mistake is now sometimes punishable by jail time.
One of the massively frustrating things about federal criminal procedure is that you cannot normally challenge, through a pretrial motion, whether the facts that the government think happened actually violate some criminal law.
By contrast, in a civil case, if I'm suing you, you can file a motion that says my lawsuit should be dismissed. This is a good thing.
Tagged: "Judge Boasberg", "Pretrial Motions" and "United States District Court for the District of Columbia"
The Stolen Valor Act, at 18 U.S.C. 704, makes it a federal crime to lie about having certain military honors.
Saints may always tell the truth, but for mortals living means lying. We lie to protect our privacy ("No, I don't live around here"); to avoid hurt feelings ("Friday is my study night"); to make others feel better ("Gee you've gotten skinny"); to avoid recriminations ("I only lost $10 at poker"); to prevent grief ("The doc says you're getting better"); to maintain domestic tranquility ("She's just a friend"); to avoid social stigma ("I just haven't met the right woman"); for career advancement ("I'm sooo lucky to have a smart boss like you"); to avoid being lonely ("I love opera"); to eliminate a rival ("He has a boyfriend"); to achieve an objective ("But I love you so much"); to defeat an objective ("I'm allergic to latex"); to make an exit ("It's not you, it's me"); to delay the inevitable ("The check is in the mail"); to communicate displeasure ("There's nothing wrong"); to get someone off your back ("I'll call you about lunch"); to escape a nudnik ("My mother's on the other line"); to namedrop ("We go way back"); to set up a surprise party ("I need help moving the piano"); to buy time ("I'm on my way"); to keep up appearances ("We're not talking divorce"); to avoid taking out the trash ("My back hurts"); to duck an obligation ("I've got a headache"); to maintain a public image ("I go to church every Sunday"); to make a point ("Ich bin ein Berliner"); to save face ("I had too much to drink"); to humor ("Correct as usual, King Friday"); to avoid embarrassment ("That wasn't me"); to curry favor ("I've read all your books"); to get a clerkship ("You're the greatest living jurist"); to save a dollar ("I gave at the office"); or to maintain innocence ("There are eight tiny reindeer on the rooftop").
Tagged: "Ninth Circuit" and "Stolen Valor"


The Events and Happenings at Great Falls Vineyard Church!
Financial Peace University (FPU) is a nine-lesson class on money management taught by America's most trusted financial guru, Dave Ramsey. Dave and his teaching team will walk you through the basics of budgeting, dumping debt, planning for the future and much more. And now you can experience this life-changing class the way that's best for you: with other people in a local group, online at your own pace, or both! $100.00 for all materials and a year of support.


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Our success is determined by how well we achieve our mission — to make measurable improvements in people's lives and in the communities we serve. Setting high standards for ourselves and for our funded partners is critical to that success. We take our role as a community leader and philanthropic organization very seriously. Our promise is to serve as an effective and efficient steward of our donors' trust and their contributions.
Governance — United Way of the Greater Capital Regon is governed by an active, responsible, and voluntary Board of Directors to ensure effective governance over the policies and financial resources of the organization. This Board is responsible for United Way delivering on its mission to advance the common good.
Ethics — United Way follows locally adopted codes of ethics for volunteers and staff that include provisions for ethical management, publicity, fundraising practices and full and fair disclosure.
Diversity — United Way has adopted policies/statements to ensure volunteers and staff broadly reflect the diversity of the community we serve.
Financial Accountability — United Way undergoes annual financial audits conducted by independent certified public accountants whose examination complies with generally accepted auditing standards.
Performance Excellence — every three years, United Way conducts a self-assessment of its governance, financial management and impact in the community for submission to and review by its national association, United Way Wordwide.
Public Reporting and Disclosure — United Way files an IRS Form 990 annually in a timely manner and provides the document on its website, at our offices, or upon request.
United Way of the Greater Capital Region has met or exceeded the Better Business Bureau's 20 Standards for Charitable Accountability and is a BBB Accredited Charity. You can review United Way of the Greater Capital Region's Charity Review here.
Financial Statements & Annual Reports
FISCAL 2019 (YEAR ENDING JUNE 30, 2019)
2019 Community Impact Report
IRS Form 990, United Way of the Greater Capital Region
Consolidated Financial Statements, United Way of the Greater Capital Region


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Champions Tour Comes Under Fire
CONCORD, Mass. -- Allen Doyle, never a fixture on the men's tour, wants the Champions Tour to make room for little-known players at the expense of weaker golfers who sponsors feel draw bigger crowds.
The only senior players with sizable followings are Arnold Palmer, Jack Nicklaus, Lee Trevino and Chi Chi Rodriguez, he said Monday.
'Outside of those guys, it doesn't matter who it is,' said Doyle, who believes fans on the course will follow golfers who are playing well that day rather than those who were big names in the past.
'If he's in his late 50s or his 60s, his wife probably isn't following him,' Doyle said. 'His wife is smart enough to know, 'I've done this for 40 years. Why am I going to go out and watch him shoot 77?''
If more famous players are still playing well 'it's great,' he said. But when they're not, they can still play because they are exempt from qualifying and sponsors may prefer them for the pro-am and to attract fans.
Doyle didn't turn pro until 1995 after a successful amateur career. Last year he won the FleetBoston Classic at Nashawtuc Country Club and will return to defend his title under the tournament's new name, Bank of America Championship, from June 25-27.
He criticized a change that allows only two golfers to make the tournament through Monday qualifying.
'It already was brutal, but when you go from four spots to two spots, it's inhumane,' Doyle said. 'Our tour has done a terrible job marketing qualifiers and guys that have succeeded.'
Doyle, ranked 26th in earnings this year with $236,872, has finished in the Top 10 in two of his 10 tournaments.
Players who have said they should help newcomers but don't do it by giving their spot in the field to them, 'are selfish enough that they want to keep playing and can't play well anymore,' Doyle said.
'I say their responsibility is to lead, and they couldn't argue that and say 'I'm still exempt, and I can play for as long as I want.' So I'd rather see good golf.'
Doyle, 55, is a native of nearby Norwood who lives in Georgia. He joined the Champions Tour in 1998 and has won more than $1 million each of the last five years.
Full Coverage - Allianz Championship
Holocaust survivors celebrate Allianz pullout
BY Associated Press — April 24, 2017
Holocaust survivors on Monday celebrated the end of German insurance giant Allianz's sponsorship of a PGA Tour Champions golf tournament in Boca Raton, Fla.
Allen equals Champions Tour scoring record
BY Associated Press — February 07, 2014
With birdies on two of his last three holes, Michael Allen matched the Champions Tour record with a 12-under 60 on Friday in the Allianz Championship, finishing the first round with an eagle and 10 birdies.
A rookie no more, Mediate looks to defend in Boca
A year ago, Rocco Mediate was just another rookie on the Champions Tour. Now he looks to defend his title this week at the Allianz Championship.


Alphabet Uppercase & Lowercase Fun-to-Know Puzzles is another new addition to our early learning range. Young children can work with these cards matching the photo and word or upper and lower case letters. Suitable for ESOL pupils too.


Mix together the graham cracker crumbs and sugars in a medium bowl. With a spoon, stir in the melted butter. Pour the crust mixture in a 9-inch pie pan and firmly pack into a crust with a measuring spoon (and/or your hands).
Bake for 7-8 minutes, then cool over a wired rack.
In a medium saucepan, whisk together the sugar, cornstarch, salt, and matcha powder. Add the egg yolks, heavy cream, and milk. Heat the filling over medium heat, and bring to a simmer. Whisk constantly, and simmer until thick, about 5-7 minutes.
Strain the mixture through a sieve over a bowl to remove any lumps. Stir in the butter and vanilla extract.
Pour the filling in the baked pie crust. Place plastic wrap directly on the filling and chill in the refrigerator for at least four hours.
With an electric mixer, whip the heavy cream and granulated sugar over medium speed until the cream reaches stiff peaks, about 4-6 minutes.
Take the pie out the refrigerator and slowly remove the plastic wrap. Place the banana slices over the pie.
Spread the whipped cream over the pie, then sprinkle matcha powdered on top.
Keep chilled in the refrigerator until you're ready to serve.


There are many ways in which a business makes communication be it mobile phones, emails, Gmail, WhatsApp, Skype, and many more. Fax machines used to be a huge part of business communications and still plays a major role when it comes to international contracts and professional communication. In this era of technology, people still use fax machines as part of their business communication across the world. There are many areas where still internet is not accessible or accessible at low speed, fax machines play a major role in those remote areas to exchange letters, contracts, proposals, and invoices. Here you can find a collection of fax cover sheet templates available in multiple format, design, and layout.
0.1 What is a Fax Cover Sheet?
2 Is it Necessary for Businesses to Use Fax Cover Sheets?
2.1 How to Use Printable Fax Cover Sheet?
2.2 How to Make a Generic Fax Cover Sheet?
What is a Fax Cover Sheet?
You all are familiar with the Fax, now let's understand what fax cover sheet is.
A fax cover sheet is like a document or page which is sent or faxed to a recipient before sending the actual fax. The purpose of sending a fax cover sheet is to let a receiver know who is sending the fax and what information it contains. Their intended purpose is to identify the sender and provide some contact information, as well as to state the intended recipient and their information. It's not necessary or compulsory to send fax cover sheet before every fax. It actually varies from business to business. Many businesses find it extremely useful while many are not in favor of it.
Is it Necessary for Businesses to Use Fax Cover Sheets?
This is the most common question that comes to mind whenever we think of using a fax cover sheet. The time & technology is changing. With time, the ways of doing business and ways of communication are also changing. That's why it's important to check out or use all the communication methods and then decide which one is suitable or appropriate for your business.
A fax cover sheet is one of the forms which is used by a manager, administrator, or a salesperson in a business to communicate. Most of the companies have a standard template for these purposes. From a branding point of view, it's important to have a standard cover sheet for business communications.
The purpose of using the fax cover sheet is to let the recipient know from where the fax is coming and to whom it is directed. The contact information of the sender, as well as a summary of actual fax, can be attached. The cover sheet is also used to address a specific person or department. Use cover sheet whenever you're sending any confidential document which is needed to check by a specific person or department only. Usually, administrative personnel delivers it directly to the intended recipient.
Include a cover sheet to make your fax stands out. Having a cover sheet means that the fax will get to the correct person. It's easier for the recipient to understand the context of fax when a cover sheet is provided. Plus the probability that only the intended person will read increases when you have a cover sheet. Without a cover sheet, it's hard to know the exact person for which the fax is written.
Indicate how many pages are attached, including the cover sheet.
Make sure to write down the sender and receiver names. To make it more professional, you can include company's logo and tagline as well. The chances of your fax cover sheet getting read increases when you have a company's name and logo in a cover sheet.
There are many businesses which benefit from fax cover sheets, but not every business benefits from the cover sheet. That's why it's important to run an experiment and see whether fax cover sheet is doing any advantage for your business or not. Many businesses ignore the fax cover sheets completely. Do not underestimate the potential of cover sheets, try them and then see whether it's beneficial or not.
If you've decided to use the fax cover sheet then here you can find multiple templates to choose from. Each template is different from the other, you need to pick anyone as per your choice or requirement. All the templates are editable in a word processing software. You can make changes as per your requirement.
How to Use Printable Fax Cover Sheet?
Use them to initiate business communication.
Include your company's name or logo to let the receiver know about your company.
Include the name of the receiver.
Include the details of the document to let a receiver knows the type of document coming his/ her way.
Use fax cover sheet to highlight the actions you want a receiver to take.
This is how you can use a printable fax cover sheet, but it's not a guarantee that sheet will work for your business. First, you need to run an experiment and see whether sending a sheet is beneficial for your business or not. Use it only if you're getting some results, else not. If you want to use it and don't know how to prepare it then don't worry at all, just check out the templates shared here and prepare your own cover sheet by editing these templates.
How to Make a Generic Fax Cover Sheet?
It's actually pretty simple to make a fax cover sheet. All you need to do is download a template from above and then make changes in it to make your own fax cover sheet. Include your company's name, logo, and tagline to make it more professional. You can also make a cover sheet from scratch in any word processing software, but it is recommended to use the templates in order to save some time.
Make sure to include important details such as your name, your fax number, and your regular phone number, company's name, logo, tagline. Also, include the correct information for your recipient. Put the date and the number of pages of the fax transmission. Mention if the fax is urgent and if you're expecting a reply. Include your logo and/or company tagline.
Now your fax cover sheet is ready. Use it in your business communications.
A fax cover sheet is proven to be useful for many businesses. You need to first figure out whether sending a fax cover sheet is advantageous for your business or just a waste of time. If it is helpful then use the free fax cover sheet samples above to make your own unique fax cover sheet and fax it to make your business communication more smooth and efficient. Feel free to download and use any of these fax cover sheet templates.
Keep checking Template Part for more such useful templates in other categories, format, design, and layout.


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BR Home Page > Players > Dale Murphy > 1983 Batting Game Logs
Positions: Outfielder, First Baseman and Catcher
Born: March 12, 1956 in Portland, OR us
Draft: Drafted by the Atlanta Braves in the 1st round (5th) of the 1974 MLB June Amateur Draft from Woodrow Wilson HS (Portland, OR).
High School: Woodrow Wilson HS (Portland, OR)
School: Brigham Young University (Provo, UT)
Debut: September 13, 1976 (Age 20-185d, 11,421st in MLB history)
vs. LAD 4 AB, 2 H, 0 HR, 2 RBI, 0 SB
Last Game: May 21, 1993 (Age 37-070d)
Agents: Bruce Church
Full Name: Dale Bryan Murphy
Nicknames: The Murph
Twitter: @DaleMurphy3
2x MVP
5x Gold Glove
4x Silver Slugger
Dale Murphy Overview
More Murphy Pages
More Dale Murphy Pages at Baseball Reference
Dale Murphy page at the Bullpen Wiki
Team Record in Appearances 88-74 / in Starts: 85-73
Longest Hitting Streak 11 games
Longest On Base Streak 32 games
Most Games w/o HR 22 games
Most Games w/o RBI 6 games
Grand Slams 0 in 15 bases loaded PA and 11 AB
Go-Ahead Hits: 31
RBI Opportunities
RBIs
in 687 PAs 121
Actual Runners on Base 427 (181-168-78)
Avg. MLBer w/ 687 PAs 73
Avg. Runners on Base 417 (204-141-71)
Most Driven In
Self 36
C Washington 25
R Ramirez 22
B Butler 12
G Hubbard 7
J Royster 6
R Johnson 3
B Horner 2
Most Driven In By
C Chambliss 25
B Horner 14
G Hubbard 10
B Watson 10
B Benedict 8
R Ramirez 7
T Harper 4
1983 Batting Game Log
715 1 Apr 4 ATL @ CIN L,4-5 CG 4 2 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 0 .000 .500 .000 .500 4 .85 -0.045 -0.20 LF
716 2 Apr 6 ATL @ CIN W,5-1 CG 4 4 1 1 0 0 0 0 0 0 3 0 0 0 0 0 0 0 .167 .375 .167 .542 4 .80 -0.034 -0.30 LF
717 3 Apr 8 ATL SDP W,4-2 CG 4 4 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .300 .417 .300 .717 4 1.50 -0.026 -0.29 LF
718 4 Apr 9 ATL SDP W,6-5 CG 4 4 1 1 0 0 0 1 0 0 0 0 0 0 0 0 0 0 .286 .375 .286 .661 4 1.11 0.014 0.25 LF
719 5 Apr 10 ATL SDP W,4-3 CG 4 4 1 2 0 0 1 3 0 0 0 0 0 0 0 0 0 0 .333 .400 .500 .900 4 1.19 0.255 1.89 LF
720 6 Apr 11 ATL SDP W,4-0 CG 4 3 1 0 0 0 0 0 1 0 2 0 0 0 0 0 0 0 .286 .375 .429 .804 3 .70 -0.064 -1.06 LF
721 7 Apr 12 ATL CIN W,4-1 CG 4 4 2 3 0 0 1 1 0 0 0 0 0 0 0 0 0 0 .360 .429 .600 1.029 4 .56 0.098 1.54 LF
722 8 Apr 13 ATL CIN W,6-1 CG 4 4 0 0 0 0 0 1 0 0 1 0 0 0 0 1 0 0 .310 .375 .517 .892 4 .68 -0.059 -0.69 LF
723 9 Apr 16 ATL @ PHI L,4-8 CG 5 2 1 1 0 0 0 0 3 0 1 0 0 0 0 0 1 0 .323 .432 .516 .949 3 1.56 0.081 0.77 CF
724 10 Apr 17 ATL @ PHI W,3-1 CG 4 4 0 1 0 0 0 1 0 0 1 0 0 0 0 0 1 0 .314 .415 .486 .900 4 1.09 -0.046 0.17 LF
725 11 Apr 18 ATL @ SDP L,3-10 CG 4 4 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .308 .400 .462 .862 4 .96 -0.037 -0.34 LF CF
726 12 Apr 19 ATL @ SDP W,9-2 GS-9 5 5 1 1 0 0 0 2 0 0 0 0 0 0 0 0 0 0 .295 .380 .432 .812 4 .51 0.057 0.34 LF
727 13 Apr 22 ATL NYM W,5-4 CG 5 0 1 0 0 0 0 0 5 0 0 0 0 0 0 0 0 0 .295 .436 .432 .868 4 1.33 0.167 1.40 LF CF
728 14 Apr 24 (1) ATL NYM W,6-3 CG 4 4 1 2 1 0 0 1 0 0 1 0 0 0 0 0 0 0 .313 .441 .458 .899 4 .86 0.229 1.63 LF
729 15 Apr 24 (2) ATL NYM W,5-3 CG 4 3 1 1 0 0 1 2 1 0 1 0 0 0 0 1 0 0 .314 .444 .510 .954 3 .86 0.047 0.44 CF
730 16 Apr 26 ATL PHI W,10-4 CG 5 4 2 2 0 0 1 4 1 0 0 0 0 0 0 0 0 0 .327 .456 .564 1.020 4 .65 0.226 2.61 LF
731 17 Apr 27 ATL PHI L,2-6 CG 4 4 0 1 0 0 0 0 0 0 0 0 0 0 0 1 0 0 .322 .444 .542 .987 4 .90 -0.068 -0.55 LF
732 18 Apr 29 ATL @ NYM L,5-6 CG 4 4 1 1 0 0 1 2 0 0 1 0 0 0 0 0 0 0 .317 .434 .571 1.006 4 .98 0.025 1.06 LF
733 19 Apr 30 ATL @ NYM W,6-1 CG 5 3 2 3 0 0 2 3 2 0 0 0 0 0 0 0 0 0 .348 .469 .682 1.151 4 .92 0.265 3.49 LF
734 20 May 1 ATL @ NYM W,2-1 CG 4 4 1 1 0 0 0 1 0 0 1 0 0 0 0 0 0 0 .343 .459 .657 1.116 4 1.16 0.093 0.26 LF
735 21 May 3 ATL @ MON W,5-2 CG 4 2 1 0 0 0 0 0 2 0 2 0 0 0 0 0 0 1 .333 .461 .639 1.100 4 1.04 -0.100 -0.45 LF
736 22 May 4 ATL @ MON L,1-4 CG 4 3 0 1 0 1 0 0 1 0 1 0 0 0 0 0 1 0 .333 .462 .653 1.116 4 .93 0.072 0.85 LF CF
737 23 May 5 ATL HOU W,6-3 CG 4 4 3 3 0 0 1 2 0 0 1 0 0 0 0 0 2 0 .354 .474 .696 1.170 3 1.08 0.293 2.73 CF
738 24 May 6 ATL HOU L,0-6 CG 4 4 0 1 0 0 0 0 0 0 2 0 0 0 0 0 0 0 .349 .465 .675 1.140 4 .72 -0.012 -0.32 LF
739 25 May 7 ATL HOU W,10-1 GS-5 4 1 1 0 0 0 0 0 3 0 1 0 0 0 0 0 0 0 .345 .476 .667 1.143 4 .52 -0.018 0.20 LF
740 26 May 8 ATL HOU W,4-3 CG 4 4 0 2 0 0 0 1 0 0 0 0 0 0 0 0 0 0 .352 .477 .659 1.136 4 1.24 0.162 1.17 LF
741 27 May 9 ATL MON L,3-5 CG 4 4 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .348 .469 .641 1.110 3 1.31 0.014 0.10 CF
742 28 May 10 ATL MON W,4-2 CG 4 4 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .333 .453 .615 1.068 3 .54 -0.054 -0.85 CF LF
743 29 May 11 ATL MON L,5-8 CG(11) 5 5 2 1 0 0 1 4 0 0 0 0 0 0 0 1 0 0 .327 .443 .624 1.066 3 2.38 0.071 0.15 CF
744 30 May 12 ATL @ HOU L,3-4 CG(10) 5 5 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .321 .433 .604 1.037 3 1.78 -0.038 0.06 CF
745 31 May 13 ATL @ HOU L,2-5 CG 4 4 2 2 0 0 1 1 0 0 0 0 0 0 0 0 1 0 .327 .435 .627 1.062 3 .41 0.030 1.32 CF
746 32 May 14 ATL @ HOU W,4-3 CG(10) 5 5 2 2 0 0 1 2 0 0 0 0 0 0 0 0 0 0 .330 .434 .643 1.077 4 .98 0.487 1.51 RF
747 33 May 15 ATL @ HOU W,9-4 CG 5 3 1 0 0 0 0 0 2 2 0 0 0 0 0 0 0 0 .322 .433 .627 1.060 4 .46 -0.031 -0.49 RF
748 34 May 17 ATL @ CHC L,3-4 CG 4 4 1 1 0 1 0 1 0 0 0 0 0 0 0 0 0 0 .320 .428 .631 1.059 3 1.29 0.096 1.00 CF
749 35 May 18 ATL @ CHC L,3-5 CG 5 5 1 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .315 .420 .614 1.034 3 1.50 -0.103 -1.61 CF LF
750 36 May 20 ATL @ STL W,2-1 CG 4 4 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .305 .409 .595 1.005 3 1.06 -0.126 -1.12 CF LF
751 37 May 21 ATL @ STL W,4-1 CG 4 4 0 1 0 1 0 3 0 0 0 0 0 0 0 0 0 0 .304 .405 .600 1.005 4 2.31 0.131 0.70 LF
752 38 May 22 ATL @ STL W,7-5 CG(11) 6 6 1 1 0 0 0 0 0 0 2 0 0 0 0 0 0 0 .298 .396 .582 .978 4 1.02 -0.047 -0.56 LF
753 39 May 23 ATL PIT W,6-3 CG 4 3 2 1 1 0 0 0 1 0 1 0 0 0 0 1 0 0 .299 .399 .583 .982 4 .47 0.022 -0.79 CF
754 40 May 24 ATL PIT L,5-6 CG 5 4 1 1 0 0 0 0 1 0 0 0 0 0 0 0 0 0 .297 .399 .574 .973 4 1.17 -0.112 -0.29 CF
755 41 May 25 ATL PIT W,6-0 CG 5 4 2 2 0 0 0 0 1 0 2 0 0 0 0 0 1 0 .303 .404 .572 .977 4 .49 0.082 0.77 CF
756 42 May 26 ATL CHC L,1-5 CG 4 4 0 1 0 0 0 0 0 0 2 0 0 0 0 0 0 0 .301 .401 .564 .965 4 1.00 -0.035 -0.55 CF
757 43 May 27 ATL CHC L,6-8 CG 5 5 1 3 1 0 0 1 0 0 1 0 0 0 0 0 0 0 .311 .406 .571 .978 4 1.09 0.119 1.08 CF
758 44 May 28 ATL CHC W,6-4 CG 4 4 1 2 0 0 0 1 0 0 1 0 0 0 0 0 0 0 .315 .408 .570 .978 4 1.20 0.154 1.32 CF
759 45 May 29 ATL CHC W,6-2 CG 4 4 2 2 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .320 .410 .568 .978 4 .43 0.028 0.05 CF
760 46 May 30 ATL @ PIT L,6-8 CG 4 2 2 1 0 0 1 1 2 0 0 0 0 0 0 0 1 0 .322 .417 .585 1.002 4 .62 0.144 1.11 CF
761 47 May 31 ATL @ PIT W,10-2 GS-8 5 5 0 1 0 0 0 0 0 0 1 0 0 0 0 0 1 0 .318 .412 .574 .986 4 .57 -0.053 -0.30 CF
762 48 Jun 1 ATL @ PIT W,6-3 CG 4 2 1 0 0 0 0 1 1 0 1 0 0 1 0 0 1 0 .315 .409 .567 .976 3 .94 0.072 0.74 CF
763 49 Jun 2 ATL STL W,8-1 CG 4 3 2 1 1 0 0 0 1 0 1 0 0 0 0 0 0 0 .315 .410 .569 .979 4 .89 -0.041 0.41 CF
764 50 Jun 3 ATL STL W,5-3 CG 4 3 1 1 0 0 0 2 0 0 0 0 0 1 0 0 0 0 .315 .407 .565 .973 3 .91 0.146 1.26 CF
765 51 Jun 4 ATL STL W,6-4 CG 4 3 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 .310 .405 .556 .961 3 .51 -0.035 -0.46 CF
766 52 Jun 5 ATL STL L,3-8 CG 4 4 2 2 0 1 1 1 0 0 0 0 0 0 0 0 0 0 .314 .406 .581 .987 3 1.17 0.220 1.59 CF
767 53 Jun 7 ATL LAD W,4-1 CG 4 3 1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 .309 .404 .572 .976 4 .99 0.120 0.44 CF
768 54 Jun 8 ATL LAD L,5-11 CG 5 5 0 1 1 0 0 1 0 0 0 0 0 0 0 0 0 0 .307 .399 .568 .967 3 .74 -0.116 -0.13 CF
769 55 Jun 9 ATL LAD L,2-4 CG 4 4 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .305 .397 .562 .958 4 1.86 -0.112 -0.53 CF
770 56 Jun 10 (1) ATL SFG L,4-6 CG(10) 5 3 2 2 1 0 1 2 2 0 0 0 0 0 0 0 1 0 .311 .405 .583 .987 4 1.71 0.462 2.09 CF
771 57 Jun 10 (2) ATL SFG W,7-3 CG 4 4 1 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .310 .402 .576 .979 4 .53 -0.014 -0.55 CF
772 58 Jun 11 ATL SFG L,6-7 CG 5 5 2 4 0 0 1 2 0 0 0 0 0 0 0 0 0 0 .321 .410 .595 1.006 3 .97 0.228 2.15 CF
773 59 Jun 12 ATL SFG W,3-2 CG 4 3 2 2 0 0 2 3 1 0 0 0 0 0 0 0 0 0 .326 .416 .624 1.040 3 1.32 0.357 2.58 CF
774 60 Jun 14 ATL @ LAD L,3-4 CG 4 4 1 2 0 0 1 1 0 0 1 0 0 0 0 0 0 0 .329 .417 .635 1.052 4 .86 0.041 0.68 CF
775 61 Jun 15 ATL @ LAD W,3-2 CG 5 4 1 1 0 0 0 1 0 0 1 0 0 1 0 0 0 0 .327 .413 .628 1.041 3 2.52 0.036 -0.50 CF
776 62 Jun 16 ATL @ LAD L,1-6 CG 4 4 0 0 0 0 0 0 0 0 3 0 0 0 0 0 0 0 .322 .407 .617 1.024 4 .66 -0.069 -1.02 CF
777 63 Jun 17 ATL @ SFG L,1-2 CG 4 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .316 .401 .607 1.008 4 1.16 -0.112 -0.71 CF
778 64 Jun 18 ATL @ SFG L,4-5 CG 4 4 1 2 0 0 1 1 0 0 1 0 0 0 0 0 0 0 .319 .402 .618 1.020 4 .61 0.036 0.95 CF
780 66 Jun 20 ATL @ HOU W,7-1 CG 4 3 2 2 0 0 0 0 1 0 1 0 0 0 0 0 1 0 .320 .405 .611 1.016 4 1.14 0.149 1.05 CF
781 67 Jun 21 ATL @ HOU L,0-5 CG 3 3 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .324 .408 .611 1.019 4 1.27 -0.009 -0.04 CF
782 68 Jun 22 ATL @ HOU L,3-4 CG 4 4 1 2 1 0 0 0 0 0 0 0 0 0 0 1 0 0 .327 .409 .614 1.022 4 1.92 0.114 0.18 CF
783 69 Jun 24 (1) ATL @ CIN W,3-0 CG 4 2 1 1 1 0 0 0 2 1 0 0 0 0 0 0 1 0 .328 .414 .617 1.030 3 .95 0.139 1.21 CF
784 70 Jun 24 (2) ATL @ CIN W,10-5 GS-9 5 4 1 0 0 0 0 0 1 0 0 0 0 0 0 1 0 0 .323 .410 .607 1.017 4 1.07 -0.054 -1.19 CF
785 71 Jun 25 ATL @ CIN W,8-2 GS-7 4 3 2 3 2 0 0 1 1 0 0 0 0 0 0 0 0 0 .331 .418 .619 1.037 4 .73 0.174 2.74 CF
786 72 Jun 26 ATL @ CIN W,5-1 CG 5 4 0 0 0 0 0 0 1 0 2 0 0 0 0 0 0 0 .326 .414 .610 1.024 4 .57 -0.104 -1.44 CF
788 74 Jun 28 ATL HOU L,3-4 CG 4 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .316 .404 .592 .996 4 1.16 -0.123 -0.93 CF
789 75 Jun 29 ATL HOU W,11-1 GS-6 3 2 2 1 1 0 0 2 1 0 0 0 0 0 0 0 0 0 .318 .406 .595 1.001 4 .61 0.075 1.29 CF
790 76 Jun 30 ATL HOU W,6-4 CG 4 4 2 2 0 0 0 0 0 0 0 0 0 0 0 0 1 0 .320 .407 .594 1.001 3 1.09 0.074 0.25 CF
791 77 Jul 1 ATL CIN W,5-2 CG 4 3 1 1 1 0 0 0 1 0 0 0 0 0 0 0 0 0 .320 .409 .594 1.003 4 .70 0.012 0.21 CF
792 78 Jul 2 ATL CIN W,4-2 9-GF 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .320 .409 .594 1.003 5 CF
793 79 Jul 3 ATL CIN L,1-2 CG 4 3 0 0 0 0 0 0 1 0 2 0 0 0 0 0 0 0 .317 .407 .588 .995 3 1.72 0.018 0.01 CF
795 81 Jul 8 ATL @ MON W,6-5 CG 4 4 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .320 .411 .584 .995 4 .57 -0.060 -0.76 CF
796 82 Jul 9 ATL @ MON W,8-5 CG(10) 5 5 1 3 0 0 0 3 0 0 0 0 0 0 0 0 0 0 .324 .413 .584 .998 4 2.01 0.167 1.71 CF
797 83 Jul 10 ATL @ MON L,6-7 CG 5 3 1 1 0 0 0 0 2 1 0 0 0 0 0 0 1 0 .324 .416 .582 .998 4 1.46 -0.001 0.06 CF
798 84 Jul 11 ATL @ MON W,6-4 CG 4 4 0 1 1 0 0 1 0 0 0 0 0 0 0 1 0 0 .323 .414 .581 .995 4 1.06 -0.005 -0.24 CF
799 85 Jul 12 (1) ATL @ PHI L,1-4 CG 4 3 0 1 0 0 0 0 0 0 1 1 0 0 0 0 0 0 .324 .415 .578 .993 4 .50 0.015 0.07 CF
800 86 Jul 12 (2) ATL @ PHI L,6-7 CG 4 4 1 2 0 0 0 1 0 0 1 0 0 0 0 0 1 0 .326 .416 .577 .993 4 1.30 0.176 1.27 CF
801 87 Jul 13 ATL @ PHI W,5-2 CG 4 3 1 1 0 0 0 0 1 1 1 0 0 0 0 0 0 0 .326 .417 .575 .992 3 1.17 -0.065 -0.50 CF
802 88 Jul 14 ATL @ PHI W,5-2 CG 5 5 1 1 0 0 1 1 0 0 0 0 0 0 0 0 0 0 .324 .414 .579 .993 4 1.05 0.006 -0.32 CF
803 89 Jul 15 ATL MON W,9-3 CG 4 3 2 1 0 0 0 0 1 0 0 0 0 0 0 0 0 0 .324 .415 .576 .991 4 1.28 -0.003 0.13 CF
804 90 Jul 16 ATL MON W,6-3 CG 4 3 1 1 1 0 0 0 1 0 0 0 0 0 0 0 0 0 .324 .416 .577 .993 4 .64 -0.020 -0.14 CF
805 91 Jul 17 ATL MON L,1-3 CG 5 3 0 0 0 0 0 1 2 0 0 0 0 0 0 0 0 0 .321 .416 .572 .987 4 1.70 0.026 0.59 CF
806 92 Jul 18 ATL NYM W,7-4 CG 5 3 1 0 0 0 0 0 2 1 1 0 0 0 0 0 0 0 .318 .415 .567 .982 3 .56 -0.023 -0.19 CF
807 93 Jul 19 ATL NYM W,11-7 CG 5 4 2 1 0 0 0 0 1 0 0 0 0 0 0 0 0 0 .317 .415 .563 .978 4 .85 0.028 0.28 CF
808 94 Jul 20 ATL NYM L,2-3 9-GF 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 .316 .414 .561 .975 8 7.30 -0.458 -1.18 PH
809 95 Jul 21 ATL PHI L,6-10 CG 5 4 0 0 0 0 0 0 1 0 1 0 0 0 0 1 0 0 .313 .411 .555 .966 4 .89 -0.122 -0.97 CF
810 96 Jul 22 ATL PHI W,6-1 CG 4 4 0 1 0 0 0 1 0 0 2 0 0 0 0 0 0 0 .312 .410 .551 .961 4 .60 -0.044 0.20 CF
811 97 Jul 23 ATL PHI W,6-5 CG 5 4 1 1 0 0 1 1 1 1 2 0 0 0 0 0 0 0 .311 .410 .556 .966 3 1.26 0.019 0.46 CF
812 98 Jul 24 ATL PHI W,12-4 GS-7 3 3 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 .309 .407 .551 .958 4 .85 -0.077 -1.33 CF
813 99 Jul 25 ATL @ NYM L,4-5 CG 5 5 1 2 0 0 0 1 0 0 1 0 0 0 1 0 1 0 .310 .407 .549 .956 4 1.07 0.203 1.36 CF
814 100 Jul 26 ATL @ NYM L,1-2 CG(10) 4 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .306 .403 .543 .946 4 1.15 -0.112 -0.67 CF
815 101 Jul 27 ATL @ NYM W,6-3 7-GF 2 1 1 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 .306 .403 .542 .945 6 .81 0.059 0.10 CF
816 102 Jul 29 (1) ATL @ SDP W,2-1 CG 4 3 0 1 1 0 0 0 1 0 1 0 0 0 0 0 0 0 .306 .404 .543 .947 3 1.00 0.070 0.38 CF
817 103 Jul 29 (2) ATL @ SDP L,5-6 CG(12) 7 6 0 2 1 0 0 2 1 0 0 0 0 0 0 0 0 0 .306 .405 .542 .947 4 2.08 0.114 1.39 CF
818 104 Jul 30 ATL @ SDP W,5-2 CG 5 5 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .305 .402 .537 .940 3 .57 -0.083 -1.08 CF
819 105 Jul 31 ATL @ SDP L,2-5 CG 5 4 0 1 0 0 0 1 1 0 1 0 0 0 0 0 0 0 .304 .402 .534 .937 3 1.41 0.071 0.10 CF
820 106 Aug 1 ATL @ SFG W,8-3 CG 4 3 2 1 0 0 0 0 1 0 1 0 0 0 0 0 0 0 .304 .403 .533 .936 4 .54 0.020 0.93 CF
821 107 Aug 2 ATL @ SFG L,3-7 CG 4 3 1 1 0 0 1 2 1 0 0 0 0 0 0 0 0 0 .305 .404 .539 .943 4 1.08 0.188 1.35 CF
822 108 Aug 3 ATL @ SFG W,6-4 CG 5 5 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .301 .400 .532 .932 3 .75 -0.040 -0.66 CF
823 109 Aug 4 ATL @ SFG W,8-1 CG 5 2 2 1 0 0 1 3 2 1 0 0 0 1 0 0 0 0 .302 .402 .540 .941 6 1.26 -0.004 1.94 CF
824 110 Aug 5 ATL @ LAD L,1-2 CG 4 3 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 .299 .400 .536 .936 3 1.39 -0.122 -0.71 CF
825 111 Aug 6 ATL @ LAD L,2-4 CG 3 3 0 1 0 0 0 0 0 0 2 0 0 0 0 0 0 0 .300 .400 .534 .934 6 .37 -0.015 -0.07 CF
826 112 Aug 7 ATL @ LAD W,5-2 CG 4 3 2 1 0 0 0 0 1 0 0 0 0 0 0 0 1 0 .300 .401 .533 .933 6 .36 0.027 0.55 CF
827 113 Aug 9 ATL SFG W,7-2 CG 4 2 2 1 1 0 0 1 2 0 0 0 0 0 0 0 0 0 .301 .404 .535 .939 3 .76 0.110 1.85 CF
828 114 Aug 10 ATL SFG L,4-7 CG 4 2 1 0 0 0 0 0 2 1 1 0 0 0 0 0 0 0 .300 .405 .532 .937 5 1.57 0.012 0.18 CF
829 115 Aug 11 ATL SFG W,6-4 CG 4 4 2 3 0 0 2 5 0 0 0 0 0 0 0 0 0 1 .304 .407 .549 .956 5 .47 0.319 4.15 CF
830 116 Aug 12 ATL LAD L,3-5 CG 4 4 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 .301 .404 .544 .948 5 1.03 -0.109 -0.85 CF
831 117 Aug 13 ATL LAD W,8-7 CG 4 4 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 .298 .401 .538 .939 5 1.57 -0.180 -1.34 CF
832 118 Aug 14 ATL LAD L,4-5 CG 4 4 0 2 1 0 0 1 0 0 2 0 0 0 0 0 0 0 .300 .402 .540 .942 3 1.01 0.085 0.89 CF
833 119 Aug 15 ATL SDP L,0-4 CG 4 3 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 .298 .400 .537 .937 3 .81 -0.004 -0.30 CF
834 120 Aug 16 ATL SDP L,2-3 CG(10) 5 5 0 2 1 0 0 1 0 0 0 0 0 0 1 0 0 0 .299 .400 .537 .938 3 1.65 0.215 1.68 CF
835 121 Aug 18 ATL @ CHC L,0-3 CG 4 3 0 2 0 0 0 0 1 0 0 0 0 0 0 0 1 0 .302 .403 .538 .941 4 .97 0.101 1.02 CF
836 122 Aug 19 ATL @ CHC W,5-3 CG 5 5 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .300 .401 .534 .936 4 .49 -0.049 -1.13 CF
837 123 Aug 20 ATL @ CHC W,9-2 CG 5 5 1 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .297 .397 .528 .926 4 1.09 -0.132 -1.62 CF
838 124 Aug 21 ATL @ CHC W,11-9 CG 6 6 2 4 1 0 1 4 0 0 1 0 0 0 0 0 0 0 .302 .400 .539 .940 4 .73 0.245 2.63 CF
839 125 Aug 23 ATL @ STL L,0-7 CG 3 3 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .302 .400 .538 .938 4 .46 0.027 0.08 CF
840 126 Aug 24 ATL @ STL W,11-3 GS-8 5 3 0 1 0 0 0 2 1 1 0 0 0 1 0 1 0 0 .302 .400 .536 .936 4 .58 -0.074 0.19 CF
841 127 Aug 25 ATL @ STL L,1-2 CG 4 4 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .302 .399 .534 .933 4 1.36 -0.081 -0.66 CF
842 128 Aug 26 ATL @ PIT L,1-9 CG 4 4 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .302 .398 .531 .929 4 .49 -0.041 -0.38 CF
844 130 Aug 28 ATL @ PIT W,2-1 CG 4 3 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 0 .298 .396 .525 .920 4 .98 -0.059 -0.62 CF
845 131 Aug 29 ATL CHC L,5-7 CG 4 3 1 0 0 0 0 0 1 0 2 0 0 0 0 0 1 0 .296 .395 .521 .916 4 1.01 -0.074 -0.53 CF
846 132 Aug 30 ATL CHC L,6-9 CG 4 4 0 1 0 0 0 2 0 0 0 0 0 0 0 1 0 0 .295 .394 .519 .913 4 1.46 0.066 0.43 CF
847 133 Aug 31 ATL STL L,3-6 CG 5 5 1 2 1 0 0 0 0 0 1 0 0 0 0 0 0 0 .296 .394 .520 .913 4 1.00 -0.026 -0.29 CF
848 134 Sep 1 ATL STL L,3-8 CG 4 4 1 3 0 0 0 1 0 0 1 0 0 0 0 0 1 0 .300 .396 .522 .918 4 .80 0.184 1.63 CF
849 135 Sep 2 ATL PIT L,1-4 CG 4 4 0 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .304 .399 .524 .922 4 .56 0.019 0.14 CF
850 136 Sep 3 ATL PIT L,2-6 CG 4 4 1 2 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .305 .399 .523 .923 4 .97 -0.014 -0.45 CF
851 137 Sep 4 ATL PIT W,6-5 CG 4 4 3 3 0 0 2 4 0 0 1 0 0 0 0 0 0 0 .309 .402 .537 .939 3 1.36 0.385 2.94 CF
852 138 Sep 5 ATL HOU W,7-5 CG 5 5 2 3 0 0 0 2 0 0 0 0 0 0 0 0 1 0 .312 .403 .538 .941 4 .83 0.183 1.06 CF
853 139 Sep 7 ATL @ SFG L,1-2 CG 5 4 0 0 0 0 0 0 1 0 0 0 0 0 0 0 1 0 .310 .402 .534 .935 4 1.50 -0.072 -0.53 CF
854 140 Sep 8 ATL @ SFG W,12-9 CG 6 4 4 3 1 0 2 4 2 1 0 0 0 0 0 0 0 0 .313 .406 .549 .955 4 1.10 0.532 4.48 CF
855 141 Sep 9 ATL @ LAD L,2-3 CG 4 4 1 1 0 0 1 1 0 0 0 0 0 0 0 0 0 0 .313 .405 .553 .958 4 1.15 -0.060 0.23 CF
856 142 Sep 10 ATL @ LAD W,6-3 CG(10) 5 5 1 0 0 0 0 1 0 0 2 0 0 0 1 0 1 0 .309 .402 .547 .949 3 2.08 0.054 -0.14 CF
857 143 Sep 11 ATL @ LAD L,6-7 CG 5 3 2 1 0 0 1 3 2 1 1 0 0 0 0 0 0 0 .310 .403 .552 .955 4 .95 0.289 2.24 CF
858 144 Sep 13 ATL @ CIN L,0-6 CG 4 4 0 1 0 0 0 0 0 0 1 0 0 0 1 0 3 0 .309 .402 .550 .952 4 1.12 0.146 1.16 CF
860 146 Sep 16 ATL SDP W,6-0 CG 4 4 2 4 1 0 0 1 0 0 0 0 0 0 0 0 1 0 .316 .407 .566 .973 4 .51 0.128 2.24 CF
861 147 Sep 17 ATL SDP L,1-2 CG 4 4 0 1 0 0 0 0 0 0 1 0 0 0 1 0 0 0 .315 .406 .563 .969 4 1.07 0.042 0.04 CF
862 148 Sep 18 ATL SDP L,2-4 CG(13) 6 5 0 0 0 0 0 0 1 0 2 0 0 0 0 0 1 0 .312 .403 .558 .962 4 2.18 -0.115 -1.00 CF
863 149 Sep 21 (1) ATL CIN W,9-1 CG 4 3 2 2 0 0 1 3 1 0 0 0 0 0 0 0 0 0 .314 .406 .564 .970 4 .55 0.145 2.42 CF
864 150 Sep 21 (2) ATL CIN L,3-4 CG 4 3 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 0 .313 .405 .561 .966 4 1.10 -0.024 -0.74 CF
865 151 Sep 22 ATL CIN L,4-6 CG 4 4 0 1 1 0 0 0 0 0 1 0 0 0 0 0 0 0 .312 .404 .561 .965 4 .81 -0.059 -0.12 CF
866 152 Sep 23 ATL LAD L,2-11 CG 4 4 1 2 0 0 0 1 0 0 1 0 0 0 0 1 0 0 .314 .404 .560 .965 4 .80 0.158 0.73 CF
867 153 Sep 24 ATL LAD W,3-2 CG 4 3 1 0 0 0 0 0 1 0 0 0 0 0 0 0 1 0 .312 .403 .557 .961 4 1.35 0.067 -0.08 CF
868 154 Sep 25 ATL LAD W,7-1 CG 5 4 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 0 .310 .402 .553 .955 4 .65 -0.041 -1.25 CF
869 155 Sep 26 ATL SFG W,6-2 CG 5 3 0 1 0 0 0 0 1 0 0 1 0 0 0 0 0 0 .310 .403 .552 .956 4 .26 0.015 0.24 CF
870 156 Sep 27 ATL SFG L,2-6 CG 4 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .308 .401 .548 .949 4 .76 -0.080 -0.80 CF
871 157 Sep 28 (1) ATL @ HOU W,3-1 CG 4 4 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .307 .400 .546 .946 4 .99 -0.055 -0.54 CF
872 158 Sep 28 (2) ATL @ HOU L,1-5 CG 4 4 0 0 0 0 0 1 0 0 2 0 0 0 0 0 0 0 .305 .398 .542 .940 4 1.16 -0.070 -0.82 CF
873 159 Sep 29 ATL @ HOU W,5-4 CG 4 3 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 1 .305 .397 .541 .938 4 1.63 -0.143 -0.78 CF
874 160 Sep 30 ATL @ SDP L,2-3 CG 4 4 1 1 0 0 1 2 0 0 1 0 0 0 0 0 0 0 .305 .396 .545 .940 4 1.23 0.093 1.30 CF
875 161 Oct 1 ATL @ SDP L,3-4 GS-8 4 4 0 0 0 0 0 0 0 0 2 0 0 0 0 1 0 0 .303 .394 .541 .934 3 .74 -0.092 -0.80 CF
876 162 Oct 2 ATL @ SDP W,4-3 8-8 1 1 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 .302 .393 .540 .933 3 .10 -0.003 -0.21 PH
88-74 687 589 131 178 24 4 36 121 90 12 110 2 0 6 6 15 30 4 .302 .393 .540 .933 1.04 6.070 57.17
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Galeria Sztuki Współczesnej BWA w Katowicach (właściwie Galeria Sztuki Współczesnej BWA) – galeria sztuki współczesnej powstała w Katowicach w sierpniu 1949, wówczas jako filia Centralnego Biura Wystaw Artystycznych. Mieści się przy al. Wojciecha Korfantego 6. Godziny otwarcia wystaw: z wyjątkiem poniedziałków; codziennie 10.00 - 18.00.

Galeria posiada jedną z największych w Polsce przestrzeni wystawienniczych – 800 m². Prezentuje sztukę współczesną, prowadzi działalność edukacyjną i wydawniczą. Zajmuje się promocją i prezentacją sztuki współczesnej, organizacją wystaw indywidualnych i zbiorowych artystów polskich i zagranicznych.

W galerii wystawiali swoje prace m.in.: Jerzy Nowosielski (1989), Piotr Potworowski (1990), Leon Tarasewicz (1995), Jan Berdyszak, Andrzej Szewczyk (1996), Heinz Mack (1997), Magdalena Abakanowicz (1998), Maria Jarema (1999), Jan Młodożeniec (2001), Andrzej Pawłowski, Jerzy Panek (2003), Jerzy Lewczyński (2006), Kishin Shinoyama (2012), Carole Benzaken (2015), Janusz Karbowniczek (2016), Filip Dujardin (2018).

Funkcję dyrektora galerii sprawowali: Witold Ciechanowicz (1949–56 i 1967–77), Helena Maria Ciecierska (1956–57), Stanisław Tejwan (1957–67), Stanisław Gajewski (1977–87), Czesława Małgorzata Panek (1988–2005). Od roku 2006 dyrektorem instytucji jest Marek Kuś.

Od roku 1994 funkcjonuje jako galeria miejska – jej działalność bieżąca finansowana jest ze środków budżetowych Katowic. Wraz ze zmianą finansowania, galeria utraciła środki finansowe na powiększanie własnej kolekcji sztuki współczesnej.

Kolekcja sztuki współczesnej
Wraz z perspektywą powstania nowej siedziby galerii, realna stała się idea budowania kolekcji sztuki współczesnej. W roku 1970 rozpoczęto wtedy skup prac i budowanie kolekcji. Przez ponad dwadzieścia lat w jej skład weszły głównie dzieła malarstwa, grafiki i rysunku choć mniej liczne ale są także reprezentowane rzeźby, collages, tkanina artystyczna i inne. Kolekcja liczy ponad tysiąc dzieł, między innymi znajdują się w niej prace takich artystów jak: Otto Axer, Jan Berdyszak, Jerzy Duda Gracz, Edward Dwurnik, Stasys Eidrigevičius, Gerard Grzywaczyk, Jan Herma, Klaudiusz Jędrusik, Zbigniew Libera, Marian Malina, Stanisław Mazuś, Zenon Moskwa, Roman Nowotarski, Aleksander Rak, Paweł Steller, Tomasz Struk, Stefan Suberlak, Józef Szajna, Jan Szmatloch, Andrzej Urbanowicz czy Henryk Waniek.

Projekty realizowane przez BWA w Katowicach
Galeria organizowała i organizuje imprezy wystawiennicze oraz edukacyjne:

- Światowa Wystawa Laureatów Intergrafia (co 3 lata) (ostatnia edycja w roku 2000)

- Triennale Grafiki Polskiej - wystawa towarzyszącą Międzynarodowemu Triennale Grafiki w Krakowie. Ostatnia edycja realizowana przez BWA miała miejsce w roku 2012. Po tym nastąpiło przekazanie organizacji Akademii Sztuk Pięknych w Katowicach. Pierwszym zrealizowanym przez ASP Triennale była impreza z roku 2015.

- Biennale Plakatu Polskiego - odbywa się cyklicznie od 1972 roku, laureatami byli m.in. Jan Lenica, Roman Kalarus

- Międzynarodowe Spotkania Ze Sztuką - spotkanie młodych, poszukujących artystów, pracujących w nowych technikach, wystawy Okręgowe ZPAP

- Do sztuki gotowi start - od roku 2012 realizowany jest projekt edukacyjny "Do sztuki gotowi start". Na przestrzeni tego czasu realizacja projektu zaangażowała ponad pięćdziesięciu artystów z różnych dziedzin (sztuki plastyczne, muzyka, teatr i in.) Idea projektu zakłada uczestnictwo w działaniach artystycznych jako pewien proces nawiązania relacji społecznych, daje alternatywę, ożywia, poszerza horyzonty osób niezwiązanych zawodowo z kulturą.

- Pstrykowisko - Wspólne przedsięwzięcie Galerii BWA, firmy Silence! oraz FotoSilesia. Panel edukacyjny stworzony dla pasjonatów fotografii. Projekt zakładał organizację warsztatów i szkoleń, na których uczestnicy maja szansę  doskonalić swoje umiejętności pod okiem specjalistów.

Działalność wydawnicza

W galerii funkcjonuje księgarnia sprzedająca wydawnictwa własne i innych placówek. Księgarnia oferuje też w sprzedaży plakaty i pocztówki. Publikowanie katalogów i druków ulotnych jest ważnym zadaniem statutowym realizowanym przez Galerię Sztuki Współczesnej BWA w Katowicach. Wydawnictwa galerii są wyróżniane na krajowych i międzynarodowych konkursach książkowych.

2019 – nagroda główna w konkursie Śląska Rzecz 2018 w kategorii grafika użytkowa dla książki "Wymiennik", projekt Jan Piechota,

2017
- Nominacje do nagrody Śląska Rzecz 2016, konkurs organizowany przez Zamek Cieszyn, katalog "Rysa na powiece" proj. Kasia Goczoł
- Nominacje do nagrody Najpiękniejsze Książki 2016 Roku, konkurs organizowany przez Polskie Towarzystwo Wydawców Książek: katalog "Rysa na powiece" proj. Kasia Goczoł, katalog "Atelier 34zero Muzeum prezentuje Atelier 340 Muzeum" proj. Magdalena Niglus, książka "Widmo" proj. Jan Piechota

2016
- wyróżnienie w konkursie Najpiękniejsze Książki 2015 Roku, konkurs organizowany przez Polskie Towarzystwo Wydawców Książek: książka "Miasto" proj. Kasia Goczoł
- nagroda specjalna w konkursie Śląska Rzecz 2015 dla Jana Piechoty za projekt graficzny książki "Mocne stąpanie po ziemi"

2014
- nagroda honorowa w konkursie Najpiękniejsze Książki 2014 Roku, konkurs organizowany przez Polskie Towarzystwo Wydawców Książek: książka "O powstawaniu i ginięciu" proj. Jan Piechota

2013
- wyróżnienie za koncepcję graficzną w konkursie Najpiękniejsze Książki 2013 Roku, konkurs organizowany przez Polskie Towarzystwo Wydawców Książek: książka "Andrzej S. Kowalski" proj. Kasia Goczoł

Od roku 2017 wybrane wydawnictwa Galerii dostępne są również w wersji cyfrowej w formacie EPUB. W pierwszej kolejności cyfryzacji poddane zostały: "Czas syntezy. Klasycy śląskiej sztuki", autorzy: Marek Kuś, Agnieszka Hoenszer, Zuzanna Sokołowska, "Widmo" autorka: Marta Lisok, "Wszystkie kolory są dozwolone pod warunkiem, że nie przeszkadzają w handlu" autor. Wodek, Atelier 34zero Muzeum prezentuje Atelier 340 Muzeum autorzy: Wodek, Pierre Arese

Budynek
Budynek o kubaturze 1500 m² zaprojektował w latach 1965-66 Stanisław Kwaśniewicz we współpracy z  konstruktorem Franciszkiem Klimkiem. Wystrój wnętrz wykonano według projektu Wojciecha Szostaka.

Obiekt był obok Separatora, Pałacu Ślubów i Superjednostki kolejnym gmachem wzniesionym w ramach koncepcji urbanistycznej Śródmieście-Zachód w Katowicach.

Oddany do użytku w 1972 r. budynek tworzą dwa segmenty – dwukondygnacyjny pawilon wystawienniczy oraz przylegający prostopadle, wsparty na słupach i zakończony łamanymi schodami budynek, mieszczący  pomieszczenia administracyjno-magazynowe. Pawilon wystawienniczy składał się z całkowicie przeszklonego parteru o powierzchni 300 m² i wysokości 5 m² oraz pierwszego piętra o wysokości 4 m² i powierzchni 1000 m² z możliwością wprowadzania podziałów ruchomymi elementami. Obie kondygnacje skomunikowano ze sobą centralnie położonymi spiralnymi schodami. Wnętrza doświetlane są światłem sztucznym i dziennym, wpadającym przez specjalne, umieszczone na dachu świetliki.

Ściany zewnętrzne pokryto szlachetnym tynkiem i okładziną wykonaną z zielonej szklanej tłuczki, oryginalnie pomalowano na jasnoniebieski kolor. Elewacje zdobią nawiązujące do tradycji antycznej płaskorzeźby autorstwa Teresy Michałowskiej-Rauszer i Jerzego Kwiatkowskiego.

Przestrzeń parteru przeznaczono na ekspozycję rzeźby. Na antresoli piętra urządzono małą kawiarnię, a w północno-wschodnim narożniku budynku salon Cepelii.

Przypisy

Bibliografia
 Sztuka Górnego Śląska od średniowiecza do końca XX wieku, red. Ewa Chojecka, wydawca: Muzeum Śląskie, Katowice 2004, , s. 452.
 Katowice − Informator, red. S. Adamczyk, wyd. Urząd Miasta w Katowicach, Katowice 1993, s. 26.
 Katowice 1865–1945. Zarys rozwoju miasta. Red. J. Szaflarski, Śląski Instytut Naukowy w Katowicach, Wydawnictwo "Śląsk", Katowice 1978, s. 26.
 Biuro Wystaw Artystycznych w Katowicach 1949-1999, red. Marek Mesznik, Galeria Sztuki Współczesnej BWA 2001

Linki zewnętrzne

 Fanpage na Facebooku

Samorządowe instytucje kultury
Galerie sztuki współczesnej w Katowicach

redpajama_set_name: RedPajamaWikipedia