With 50-plus years of ongoing service in the printing and mailing industry, our dedication, quality products and customer service has continued to be recognized by various press and media outlets.
Design Distributors, Inc. (DDI) has been awarded the status of the Top Direct Mail Suppliers in the United States by Print & Promo Magazine, and among the Top 400 Printers in the United States and Canada by Printing Impressions magazine, two of the industries leading resources. This award bears witness to DDI's ability to maintain continued steady growth without sacrificing its dedication to its clients of providing industry leading customer service.
"We are constantly looking for ways to provide our clients with multiple cost saving options to choose from", the company's President, Adam Avrick states. "We believe that, and our continued efforts to provide industry leading customer service, are the two primary reasons for our continued success."
Design Distributors, Inc. (DDI) President Adam Avrick was awarded the prestigious United States' Postal Services Postal Customer Council's (PCC) National Industry Member of the Year - Gold Award on Tuesday Aug. 27, 2014 at the PCC's ceremony held in Washington D.C. This award was received in recognition of his dedicated work, educational innovation, and commitment as Industry Co-Chair of the Long Island PCC Chapter. Mr. Avrick received the award from the US Postal Service Postmaster General/CEO Patrick R. Donahoe.
Adam's stewardship as Industry Co-Chair of the Long Island PCC Chapter, from June 2011 through June 2013, saw a sizable increase in membership, educational programs, and participation at its monthly meetings and events.
Design Distributors, is the largest full service direct marketing facility in the New York Area. DDI's state of the art facility and diversity in equipment allows them to print, image and mail just about every conceivable project. By controlling the complete production cycle, DDI has been able to reduce turn time and add to cost savings by eliminating freight as well as accommodating last minute changes to mail quantities. Variable color imaging and an extensive fulfillment department are just a few of the latest additions to its already diverse plant.
Adam truly believes in developing strong open relationships between the USPS and local business mailers. His support of the PCC and their educational seminars has helped keep Design Distributors, Inc. in synch with the USPS as they develop programs designed to streamline the mail industry, benefiting his customer's direct market programs.
The Postal Customer Council is a network of business mailers and representatives of the U.S. Postal Service, who gather regularly to discuss and resolve local mailing issues as well as develop content-rich education programs. On both the national and local levels, Postal Customer Councils work to continually improve communications between the Postal Service and its customers by promoting an effective networking platform.
Design Distributors, Inc. (DDI) is proud to announce that it has continued to excel as an industry presence by ranking once again in the Printing Impression Magazine year end listings of the top printers and direct mail companies. For the second year in a row, Design was ranked in the Printing Impression's Top 400 Who's Who in Printing (November 2012). Now in its 29th year, the Printing Impressions 400 provides the industry's most comprehensive ranking of the leading printing companies in the United States and Canada. Company rankings for the current and previous year are based on sales figures reported. Design Distributors was ranked 253 out of 400.
DDI, in its 46th year in business, continues to improve it service to the industry and profitability through intelligent production and networking. One of the keys to its success has been its ability to work with their clients and provide not just a printed product but a solution to every issue. This has led to the building of a very diverse 70,000 square foot production facility which can produce just about every conceivable mail piece.
Most recently DDI has entered the digital color printing market with the installation of the Xerox I-Gen print production system. The I-Gen is an industry workhorse which allows for accurate full color short run print production in a cost effective manner. This technology is ideally suited for the new Every Door Direct service offered by the US Postal Service.
"We are constantly looking for ways to provide our clients with cost saving options to choose from", the company's' President, Adam Avrick states. "We believe that, and our continued efforts to provide industry leading customer service, are the two primary reasons for our continued success".
Design Distributors, Inc. (DDI) has been awarded the status of one of the Top 10 Direct Mail Suppliers in the United States by Print & Promo Magazine, formerly Print Professionals Magazine, one of the industries leading resources. DDI was also ranked in the top fifty printers overall. This award bears witness to DDI's ability to maintain continued steady growth without sacrificing its dedication to its clients of providing industry leading customer service.
DDI, in its 46th year in business, continues to improve it service to the industry and profitability through intelligent production and networking. One of the keys to its success has been its ability to work with their clients and provide not just a printed product, but a solution to every issue. This has led to the building of a very diverse 70,000 square foot production facility which can produce just about every conceivable mail piece.
We are constantly looking for ways to provide our clients with cost saving options to choose from", the company's' President, Adam Avrick states. "We believe that, and our continued efforts to provide industry leading customer service, are the two primary reasons for our continued success".
Hauppauge, New York - August 8, 2012 - Feeling frustrated that you don't have time for charity because you're too busy at work? Design Distributors, Inc. gave employees the perfect outlet for their frustration – Boss Dunk for Charity! Recently, employees at Design Distributors, Inc., a full-service commercial printing and direct mail company, got the opportunity to dunk their bosses in a dunk tank to raise money benefitting Island Harvest, Long Island's largest hunger relief organization. Employees and clients donated money for a chance to dunk the top executives at Design Distributors, Inc., with many donating repeatedly to get another chance to dunk the bosses.
Adam Avrick, president, Design Distributors, Inc. said, "We choose Island Harvest as the beneficiary of the event because we know the money will go directly to getting food to those in our local communities who are struggling in these difficult economic times." Design Distributors, Inc.. matched all donations made during the 2 hour event, donating a total of $1600 to benefit Island Harvest.
Now in its 20th year, Island Harvest serves as the bridge between those with surplus food and those who need it, supplying nearly 570 community-based nonprofit organizations on Long Island with critical food support to help stem the advancing tide of hunger in our communities. For more information about Island Harvest, visit www.islandharvest.org.
For more information on Island Harvest, please see the website at www.islandharvest.org. Donations can be made on their site and are greatly appreciated.
Design Distributors, Inc. (DDI) has been placed among the Top 400 Printers in the United States and Canada by Printing Impressions magazine, one of the industries leading resources.
This honor is testament to DDI's ability to attract business to its one-stop manufacturing facility and produce quality printing along with uncompromised service for our growing customer base.
DDI's facility is the most diverse one-stop, all in-house printing and mailing facility in the northeast. By equipping ourselves with a complete pre-press department, high end digital proofing, on-site web and sheet-fed presses, finishing, lettershop and fulfillment areas, our loyal customers have seen the efficiency and cost savings DDI offers.
DDI's president Adam Avrick attributes the company's strong positioning in the listing to a concentration on customer service and offering alternative products to our clients.
DDI was founded in 1966 as an envelope printing company and expanded over the years to a full service commercial printing and direct mail company occupying 75,000 square feet of company owned space in Deer Park, New York.
Recently DDI has expanded into the contract packaging and fulfillment business. DDI has taken over 50,000 square feet of additional space and is providing these services as well to its clients.
Design Distributors, Inc. (DDI) has been awarded the status of one of the Top 10 Direct Mail Suppliers in the United States by Print Professionals Magazine, one of the industries leading resources. DDI was also ranked in the top third overall. This award bears witness to DDI's ability to maintain continued steady growth without sacrificing its dedication to its clients of providing industry leading customer service.
DDI recently celebrated its 45th year in business, which was started in the envelope printing business and expanded over the years to a full service direct marketing solutions company. One of the keys to its success has been its ability to work with their clients and provide not just a printed product but a solution to an issue. This has led to the building of a very diverse 70,000 square foot production facility which can produce just about every conceivable mail piece.
Most recently DDI further expanded into the contract packaging, fulfillment, and hand assembly areas. By combining hand assembly with various forms of automation, they have provided their clients different options and cost effective means of producing their products. In addition to automation, DDI provides state of the art shipping optimization programs to reduce clients shipping costs while maintaining important in home dates.
Adam Avrick assumed the role of Chairman of Printing Industries of Long Island (PIA-LI) on July 1, 2011. Adam has served for two years on the Board of Directors of Printing Industries Alliance (PIA) and has taken on the additional responsibility of heading up its regional group of member firms sited on Long Island.
Mr. Avrick is the President of Design Distributors, Inc. (DDI), a direct response printing and mailing company. DDI (www.designdistributors.com) is a family-owned Long Island company founded in 1966. After taking over in 1993, Adam expanded DDI from an envelope manufacturer to a full-service printing and mail marketing facility. Adam is a graduate of Rochester Institute of Technology and was past president of the RIT Printing Alumni Association. He also currently serves as Co-Chairperson of the Long Island Postal Customer Council (LIPCC).
DDI is the only true full service printing and mailing company in the Tri-State area, whose capabilities include envelope, forms, commercial printing along with a state of the art digital imaging, fulfillment and mailing facility.
Printing Industries Alliance (PIA) is a regional trade association representing the $20 billion printing and graphic communications industry throughout New York State, northern New Jersey and northwestern Pennsylvania. The more than 462 graphic communications firms located within Nassau and Suffolk Counties alone contribute to the Island's economy with annual shipments of over $2.1 billion and provide 12,812 jobs.
Like its parent organization, PIA-LI's mission is to foster policies which promulgate economic growth on Long Island for both graphic communications-related companies and other firms doing business here, to maintain close working relationships with key corporate and political decision makers at county, state and federal levels, to encourage "buy local" procurements practices, and to protect the overall commercial interests of its members. PIA-LI holds regularly scheduled programs throughout the year in Nassau and Suffolk Counties which are open to members and non-members alike.
For membership information on PIA-LI, or if you are simply interested in attending a meeting or an event, please visit its website at www.PIAlliance.org.
Adam Avrick will take over the reins as LI PCC Industry Co-Chairperson at the LI PCC monthly meeting on June 15, 2011. Adam has served for four years an Executive Officer for the LIPCC, as First Vice Chair for the past 2 years, and 2nd Vice Chair for two years prior to that. Adam also serves on the board of the Printing Industries Alliance of Long Island.
Adam is President of Design Distributors, Inc. (DDI), a direct response printing and mailing company. DDI (www.designdistributors.com) is a family-owned Long Island company founded in 1966. After taking over in 1993, Adam expanded it from an envelope manufacturer to a fullservice printing and mail marketing facility. Adam is a graduate of Rochester Institute of Technology and was past president of the RIT Printing Alumni Association.
DDI is the only true full service printing and mailing company in the Tri State area, whose capabilities include envelope, forms, commercial printing along with a state of the art digital imaging, fulfillment, and mailing facility.
The Postal Customer Council is a network of business mailers and representatives of the U.S. Postal Service, who gather regularly to discuss and resolve local mailing issues as well as develop content-rich education programs. Postal Customer Councils work on both the national and local levels, to continually improve communications between the Postal Service and its customers by promoting an effective networking platform.
The mission of the PCC program is to foster and maintain a close working relationship between mailers and the United States Postal Service, share information about new and existing Postal Service products, programs, regulations, and procedures, facilitate the interchange of ideas among mailers and Postal Service officials and help members and their organizations grow and develop professionally through focused educational programs.
Aside from the high quality marketing materials we produce, the number one reason our customers stay with us for years is our attention to detail and customer service. Whether we do business together already or you're looking to begin a relationship with Design Distributors, we're anxious to speak with you.
Here at Design Distributors, each new project gets assigned to a trained and dedicated professional to further assist and keep in touch with you every step of the way. To learn more about our services, inquire about your existing project or discuss an upcoming one, please contact us or request a quote.
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Steven Yeun's New Frontier
He got famous a decade ago on The Walking Dead. But how well do we really know him? On the occasion of his Oscar-worthy new film, Minari, we go inside the mind of one of Hollywood's best actors.
By Chris Gayomali
Photography by Diana Markosian
Poncho (throughout), $145, by RTH. Shirt, $249, by Double RL—Ralph Lauren. Vintage jeans by Levi's from What Goes Around Comes Around. Boots (throughout), vintage.
"Oh, no," said Steven Yeun, his register hushed, like he'd just been enlisted to steal the Declaration of Independence.
Some of Yeun's friends had told me, specifically, to ask the actor about his fondness for something called primal astrology. Primal astrology is a quasi-evolved version of its more popular zodiac cousin, with a little more spiritual razzle-dazzle—the main difference being that, instead of, say, Scorpios or Sagittarii, the birth signs are meerkats or bees. According to Primalastrology.com, the system is designed to help people "discover far, far more about your path in life than was previously possible" by combining their Eastern and Western zodiac signs along with "past lives" and "karmic balancing." (According to a female colleague, "It sounds like astrology, but for dudes.") Steven Yeun's spirit animal is a camel—an assessment he agrees with.
Steven Yeun covers the April 2021 issue of GQ. To get a copy, subscribe to GQ.Vintage vest and vintage ring (on right hand) from Melet Mercantile. Vintage shirt from Stock Vintage. Vintage jeans by Levi's from What Goes Around Comes Around. Belt, $985, by Artemas Quibble. Necklace and ring (on left hand), his own. Bracelet, $1,395, by Saint Laurent by Anthony Vaccarello.
Per the site, a camel is always "up for an adventure. Like their animal namesake, Camels will not only trek through harsh conditions for you, they will carry you on their back while they do it.… They are highly self-reliant and very lucky, which is why they don't always look before they leap."
So it's a little bit of a Rorschach test in that the heart sees what it wants to see. Whether it's useful or not, primal astrology is the exact kind of silly distraction that registers in Yeun's bones—that opens his mind to new modes of thinking. Growing up in suburban Michigan, Yeun spent his time absorbed in X-Men trading cards, which spelled out a character's traits, like STRENGTH, ENERGY PROJECTION, FIGHTING ABILITY, and whether this guy's adamantium claws could cut through so-and-so's gamma-irradiated skin. "I wonder if that's an Asian thing?" Yeun said. "We love pattern recognition and stats and knowing what someone's makeup is. You know what I mean?" His favorite thing about primal astrology, though, is "the merging of East and West"—the convergence of worlds. He's deeply focused on those ambiguous, in-between spaces. "That, to me, is maybe the future—if you can balance the ideologies of both sides. That's a good balance."
These days Yeun finds himself very much in a hazy in-between space of his own, on the precipice, it seems, of something bigger, something special. It's not the first time, either. He became famous, basically overnight, as a beloved character on a popular TV show in which a virus ripped through Earth's population and forced everyone into a gloomy existence in which they wear the same clothes every day. It's like one day there was no Steven Yeun in the culture, and then out of thin air: There's Steven Yeun, the Asian guy from The Walking Dead, skinny-dipping at Wi Spa with Conan O'Brien.
Since his departure from the show five years ago, Yeun, 37, has been in pursuit of that good balance, taking on a series of challenging roles in indie films with some of the more cerebral and gonzo directors of his era, beginning with Okja (by Parasite director and Academy Award winner Bong Joon Ho), then Sorry to Bother You (Boots Riley) and Burning (Lee Chang-dong). Last year he starred in Lee Isaac Chung's Minari, which hoovered up the major awards at Sundance and was declared by judge Ethan Hawke to be "damn close to perfect." By the beginning of 2021, the film—and Yeun's role in it—was being talked about again, as a likely Oscar-nominee for best picture.
Shirt, $249, by Double RL—Ralph Lauren. Chaps (price upon request) by RTH. Necklace, his own. Vintage ring from Melet Mercantile.
"We profess that we're caught in the white American gaze, and that's true. But we forget that we are also that gaze. That gaze is encoded into us, and the last boss is yourself."
Set in a sun-dappled version of the '80s, the film features Yeun as Jacob Yi, an obstinate Korean father who uproots his wife and two young children from California to start a farm in rural Arkansas, which might as well be an alien exoplanet thousands of parsecs away. At its heart, Minari is an optimistic film about family and the different frequencies that love can manifest. Unlike other immigrant narratives, it centers the Koreanness of the Yi family while presenting their new white neighbors as an at-times annoying but ultimately benign Other, like the Yis had crash-landed among the Jar Jar Binkses. Race is an ambient specter, but it doesn't cast a shadow over the characters or predetermine what they do; they're allowed to just be who they are, fuckups and all. And no one fucks up more than Jacob, whose existential turmoil gives Yeun the fodder to deliver his most multilayered performance yet. Maybe not surprisingly, the role has ushered him toward a new, rarefied space: a leading man who, through some alchemy of determination, curiosity, charisma, and luck, is expanding in the American imagination the possibilities for Asian American actors and the stories they can tell onscreen. That he happens to be extremely good-looking doesn't hurt, either. Boots Riley told me that in casting Yeun for the role of Squeeze in Sorry to Bother You, he needed someone "handsome enough that you thought that Tessa Thompson was going to want to go after him."
Of course, in a place as white and retrograde as Hollywood, changing the notions of who gets let in and who gets taken seriously doesn't happen easily. Yeun is particularly thoughtful about this stuff, which has made him something of an ideal ombudsman on the issues of parity and representation, which crop up in sometimes strange ways. Take Minari, for example. It's a critically adored prairie film from a Colorado-born director that takes place in the South. It's as American as Baja Blast and "Dipset Anthem." Yet instead of honoring the film in the best-picture category, the Golden Globes this year relegated it to best foreign picture, thanks to a byzantine set of rules that, in part, require a best-picture nominee to be "exclusively for English-language motion pictures"—which critics have pointed out didn't seem to apply to, say, Inglourious Basterds. In a way, the Minari controversy forced us to confront the thorny question about who gets to be seen as American—and more crucially who doesn't.
"I wasn't surprised," Yeun said when I asked him about the Globes. "I have no desire to try to massage both sides in this situation, but it really just comes down to the idea that rules and institutions can never capture real life. And it can never really understand that what builds a place like America and what makes it great is all the people that are contributing to it." Yeun said he views the Golden Globes slight—annoying as it is—as something of an opportunity: to open new doors, to put others on his back. "If this is the thing that helps to expand these institutions and rules? Cool," he said. "That's why we make this stuff."
Vintage jacket and pants from Front General Store. Vintage shirt from Palace Costume. Vintage bolo tie from Melet Mercantile. Belt, $1,094, by Artemas Quibble. Ring, his own.
Before jumping into Jacob's high-waisted brown trousers in Minari, Yeun faced the burden of portraying Korean fatherhood for a wide audience without falling into old stereotypes. It was eating away at him. "I was more terrified than I'd been doing any other thing," he said. Here, an opportunity: How do you show audiences a three-dimensional character, full of anger, ambition, and a frightening inability to read his wife's love language? "All these thoughts were racing through my mind, like 'What do I do?' 'Do I play a caricature of our fathers?' 'Are people going to want me to play a larger, catchall idea of what a Korean ajusshi is?' "
In some ways it's an unenviable task: You're simultaneously resisting old tropes and trying to remain authentic to what you know, all while inventing new molds that someone else can break in the future. You're jumping off a cliff and building the plane on the way down, except the plane has to use rechargeable lithium-ion batteries to meet evolving emission standards.
"There's this built-in Voltron image of what an Asian dad is supposed to be, and to break through that is kind of difficult," he added. "To not just break through the expectations of others, but also to break through the gaze in your own mind.
Steven Yeun Goes Undercover on Reddit, YouTube and Twitter
I first met Steven Yeun in New York, where I live, in 2018 on assignment for GQ. Over Scarr's pizza we had an oddly life-affirming conversation about everything from growing up in our respective churches to evolving ideas of masculinity to Jeremy Lin's run with the Knicks. It was…strange! I left in such a daze that I got lost walking back to the office. Part of what made that conversation so comfortable was the fact that we were both Asian guys around the same age. (I'm Filipino.) Still, it's rare to talk to a stranger and find yourself so easily locked onto the same frequency. "It feels cool to talk to you, and dangerous," Yeun said this time around, laughing. "We can share so much perspective, so I just puke."
Over a series of long Zoom calls this winter, Yeun was candid and philosophical, the kind of talker whose thoughts balloon into long, floaty paragraphs stippled with the occasional "duuuude." Earlier in his career, he had flittier, eager-to-please energy, but these days he's mellowed out; his speaking cadence has an almost melatonin effect. If this once-in-a-generation-actor thing doesn't work out, he'd make a great hostage negotiator.
"He thinks about things deeply," Boots Riley told me when describing his own long conversations with the actor. He cast Yeun in Sorry to Bother You after the two shared a languid night out at a restaurant. Some weed was smoked, and a friendship blossomed from there. "If I'm going to call him on the phone, I have to have a few hours set aside," Riley added, "because we're going to run the gamut of everything in existence that needs to be talked about."
Vintage jacket from Stock Vintage. Shirt, $265, and jeans, $425, by Double RL—Ralph Lauren. Belt, $985, by Artemas Quibble Vintage. Bandana from Palace Costume. Bracelet, $1,395, by Saint Laurent by Anthony Vaccarello.
In the two-plus years since I'd last spoken with Yeun, a lot had changed—namely, it's boom times for Asian American film and television. You have rich and tasteless Asians with six-packs on reality TV (Bling Empire). You have hyper-violent Chinatown wars, where the gangsters also have six-packs (Warrior). And you have artful indie films such as Lulu Wang's 2019 feature, The Farewell, for which Awkwafina (six-pack unconfirmed) became the first Asian American to win a Golden Globe for best actress. Not everything being produced right now is "good" necessarily, which is in itself good. That's how this should work. Representation, practically speaking, requires some latitude to suck.
Few people have thought about their place in all of this with as much care and attention as Yeun, even as he acknowledges that when it comes to the topic of authenticity, conversations can quickly become circular. "It's like you get tricked into representing your entire culture, and then the game becomes policing your authenticity to each other," he said. "But how can you be authentic? What's actually authentic to you is just being this middle person—Korean and American. This third culture."
Yeun moved to Los Angeles in 2009. Drove across the country and tried out for a handful of acting gigs, including one he didn't get, for a "plucky assistant" on an ill-fated sitcom called Awkward Situations for Men—and then, just five months after crossing the county line, was cast on AMC's The Walking Dead. At its peak, the show was the most watched thing on television, trouncing Game of Thrones and even The Big Bang Theory. His role as Glenn Rhee, a Korean American pizza-delivery guy with great hair and a big heart, quickly transformed Yeun into an object of fan obsession—like, people would literally get his face tattooed on their chests and LARP as him in forums. (In 2017, a year after he left the show, he was filming a night scene for Sorry to Bother You in Oakland, scrunched inside a Toyota Tercel with movie stars including Lakeith Stanfield and Tessa Thompson. Yeun was the first one to get recognized…from the back seat. People waiting in line outside a bar were like, "Hey! It's the Asian guy from The Walking Dead!")
The instant notoriety was surreal—and slightly dehumanizing. Yeun had to stop leading worship at his church after parishioners began asking for selfies. Compounding the chaos was the fact that Glenn was romantically paired up with Maggie, a brave and unswerving white woman, played by Lauren Cohan. "It was important for both of us, but Steven always knew that the relationship had to feel real, because it was one of the first really major Asian-white relationships portrayed on TV," Cohan told me. The actors did such a laudable job that YouTube is now lousy with fan montages in which Glenn and Maggie are smeared in blood while "All of Me" by John Legend plays in the background.
"America is still not equipped to support the flyness of who we actually are. We're carving out our own space. It's frontier territory right now—still."
Then, after seven seasons, Glenn's skull was pounded into the dirt by a guy with a baseball bat. Brains everywhere, fingers still twitching. Even by Thrones-ian standards, his death was a lot, and more than a few diehards stopped watching the show afterward. I've always wondered: Could Yeun have kept Glenn alive if he'd wanted to?
"If I would have campaigned for it, maybe?" Yeun said. Still, he had a "nagging feeling" that the ride was done. Glenn was tied to Yeun in such a "meta way," and he was feeling limited by the character's lack of dimensions. "Like, it's kayfabe, you know what I mean?" Yeun began to explain by way of a wrestling analogy. "I'm like 'Hacksaw' Jim Duggan or Ricky 'the Dragon' Steamboat or something. Wrestling is for the people: There's 'good' and 'bad.' But I felt I had expanded beyond that and I was internally frustrated. I felt like I was servicing a concept of goodness, as opposed to engaging with Glenn's humanity."
Jacket, $1,050, and shirt, $640, by Celine Homme by Hedi Slimane. Vintage pants from Melet Mercantile. Hat, $230, by Stetson.
Yeun wanted Glenn to be "more conflicted," to have the same opportunities for interiority as the other characters. "Glenn has evil thoughts, I'm sure," said Yeun. "I remember season three, when Glenn thinks that the governor assaulted Maggie, and I remember I campaigned hard. I was like, 'Yo! Give me a story line where I go to kill this guy.' " That didn't happen, and it was the first moment that Yeun knew his time on the series was coming to an end. "To be quite honest, as an Asian person, sometimes accessing your own humanity when you're outside in the world is not that easy. Because you're usually kind of just shrunken down into your label. To not have that in my real life and to not have that in my show life was frustrating. And so I think it just started this journey of just, like…dude, I can't. I've got to feel full. I've got to feel real."
What do you mean you weren't feeling full in your real life?
"I didn't know it while I was living through it, but you're constantly code-switching," he said. "You're constantly trying to fit into a situation so that you don't disturb it." I suspect this is something a lot of Asian Americans of our generation can relate to, career- and otherwise. You feel thankful to be in these rooms, to have a seat at the table, whether you're a creative or a hedge-funder or a beloved actor who marries a cool white woman on a zombie show. Things are going well for you. Why rock the boat?
"But I think I was tired of not letting people know that I could have dark thoughts," Yeun continued. "That I could also have anger. I would hear all my life from other people who are like, 'Whoa, are you getting pissed? No way!' Early on in my life, I took that as a compliment because I was like, 'Oh, I'm playing the game right. Like, I'm being a nice guy.' But then you get older and you're like, 'Fuck that, man. That's an insult.' And that's what I mean about my humanity. We all feel human. But I just wanted to feel all the feelings."
So he leapt into roles that allowed for space to feel those feelings. To find answers to the question of who Steven Yeun could become.
Shirt, $1,400, and pants, $4,600, by Gucci. Belt, $895, by Artemas Quibble. Vintage boots from Front General Store. Hat, $700, by Wild Hatters. Vintage ring (on right hand) from Melet Mercantile. Ring (on left hand), his own.
Earlier in his career, Yeun was more of a people pleaser, someone who went out of his way to meet strangers where they were. To a certain extent he still tries to make other people feel comfortable, but as he's gotten older he's become more protective of that accommodating mental energy. He suspects that being hyperaware of what everyone else around you is doing might be another Asian thing. "If you're from a collectivist environment or family, you're constantly thinking about other people," he said. "You grow to trust that system because at least if you put something into it, it'll come back to you." He furthered the point with an observation about the workplace: "We get stuck in middle management so much, and I wonder why that is. Probably because we're glue people. We're the ones that keep the companies afloat, because we're managing all this shit, because we're thinking about everything. And then they keep us there because no other person's going to do that."
The term Asian American is a fairly recent invention, younger than bubble wrap and even the computer mouse. It was coined in the late 1960s by two Berkeley activists who wanted to lasso disparate immigrant groups into a potentially powerful political identity, inspired by the Black Power movement that preceded it. Obviously, the phrase has its limitations: The cultural experience of, say, a Filipino idiot who works at GQ and grew up in a West Coast town like Long Beach surrounded by Cambodians—who on average experience higher poverty rates than other Americans—is going be radically different from that of a Korean immigrant growing up in an overwhelmingly white Michigan suburb. Still, it's a term that captures something useful about a cohort of people who share, if nothing else, a similar sort of middle space—an area in between that we're constantly aware of.
Yeun's family emigrated from Seoul, where his father had been an architect at a big firm, when Steven was four. His parents and younger brother touched down Stateside in Taylor, Michigan—a working-class neighborhood with "gangs, rat tails, and BMX bikes"—living in a green house behind an uncle's store. Mom and Dad's first job in the States was stuffing chopsticks into paper sleeves. "[My dad was like,] 'When I first came here, I was so angry,' " Yeun said. "He said he was so angry because he realized that he threw away all the safety of everything and had to start back up from zero."
Eventually the family put down roots in the suburb of Troy, a half hour north of Detroit. As a kid, Yeun just sort of osmosed his way into learning English and was often the only Asian kid in school. "I was pretty iso," he said. "I think immigration, if I'm going to be honest, it fucked me up a little bit." It was Yeun's younger brother, three years his junior, who had an easier time assimilating—who made friends and got Steven into the NBA and the Detroit Pistons. "He was young enough to not be messed up by the same things," Yeun said, "and so he kind of blossomed and was able to be a part of life, while I kind of held on to this weird, nebulous middle space."
So Steven retreated into himself. He found some comfort in Nintendo and X-Men cards, and he befriended "other weird gap-life kids," the kind predisposed to sitting alone at the lunch table. "I realized I did a lot of things to look smart," said Yeun. "Secretly, I'm mad dumb!" An example: If someone asked him what his favorite type of music was, he'd blurt out, "Classical!" ("But I don't know anything about classical music. I would just say shit.") He played in the school orchestra—"first violin, last chair"—but felt like the most realized version of himself at his Korean church, where he didn't have to code-switch. In his youth group, everyone could just move through their little contained world in the fullness of who they were.
Yeun finally began to break out of his shell as a teenager, when he got himself a guitar: a Taylor 710ce with Elixir strings. "I remember the day that my dad bought it for me at Guitar Center," Yeun recalled. Young Steven was euphoric; Dad was pained by the four-figure price tag. "I think he felt like he was just birthing another child. He was so sad, putting down that money." The guitar quickly unlocked something in Yeun, who would transform himself into the band leader of his praise group. He had grown to love singing, and the guitar, by extension, made singing easier. He especially loved the worship music of songwriter Chris Tomlin—"Amazing Grace (My Chains Are Gone)" was extremely his shit—and would occasionally perform outside the context of the church. The easy John Mayer stuff. Jason Mraz. Those folk-adjacent acoustic tabs that sensitive straight guys of a certain age bracket foolishly thought would help them land girlfriends.
"I did a really good… Whoa, I'm blanking on it. Man, what's that song.…"
And here, after quickly searching the recesses of his memory and failing to come up with the correct answer, Steven Yeun starts to sing:
"Whatever tomorrow brings I'll be there.…"
The song is "Drive," by Incubus, a fact that I offer a little too quickly.
"Yeah! I did a good cover of that at a church talent show, and I won," he said, laughing.
After high school, Yeun attended Kalamazoo College, a tiny liberal arts school where he eventually lived in a "disgusting" party house with a few of the basketball players and once lit a couch on fire. It was there he fell into improv comedy, which gave him a new medium with which to express himself. He graduated with degrees in psychology and befriending white people and decided to move to Chicago, following in the footsteps of comedian and fellow Kalamazoo alum Jordan Klepper, whose younger sister had been Yeun's neighbor in the dorms. It wasn't long before Yeun landed a gig performing for The Second City, the improv incubator that launched the careers of Amy Poehler, Julia Louis-Dreyfuss, and generations of other stars. A fun thought exercise is to imagine a parallel universe in which a bizarro Steven Yeun gets butterfly-effected onto the cast of Saturday Night Live.
It was in Chicago that he met Joana Pak, who would become only his second-ever girlfriend and eventually his wife. "I was walking down the street with a friend, and I just see this girl smoking a cigarette under this lamp on Milwaukee Avenue," Yeun recalled. "I just tapped my friend, and I was like, 'Yooooooooo, look at that girl.' And he was like, 'Oh, shit. I know her!' " Such was Steven Yeun's luck. He asked for an introduction and got one, but, unfortunately for him, she had a boyfriend at the time. It wasn't until he ran into her a year later—when she serendipitously walked into the café where he was bartending—that Yeun finally was able to ask her out on a date. "I invited Jo out with two other friends who happened to be girls, which was the worst move of all time," Yeun said, cringing a little. "Probably because I hadn't been dating in so long, and by that point I was just like, 'You know what? I'm just going to not let her know that I'm into her.' I was playing dumb. Just lame-ass moves." Fortunately for him, Jo decided to give him a shot anyway. "Then we broke off on our own, and I saw her every day for the rest of the year."
Faith remains a big part of his life. He fell off during college before finding his way back to it, which strengthened his convictions. "I think faith gets a weird connotation these days, that it's so directly tied with the religious church," said Yeun. "But faith is just a will to live, right? Just the will to be, and be here, and do the work, and do the thing." He knows religion is not for everyone, but he says he's "lucky" that it's a part of his life. "That's a gift," he said. "People search their whole life for something to say and something to really mean."
Grace surprises him in unlikely moments, like when he was preparing for Minari. "This is an embarrassing admission," he said. Two days before filming was set to begin, Yeun broke down in the shower. He got in, started running through his lines, and out of nowhere was overcome with emotion. "I started crying," he said. "It was like all these feelings hit me at the same time, and it was a mixture of fear, awe, gratitude, submission, and joy. And when I thought about it and I put all those feelings together, I was like, 'Maybe this is faith? Maybe this feeling…is faith?' "
Shirt, $249, by Double RL—Ralph Lauren. Chaps (price upon request) by RTH.
It's not clear to me if his faith and ideas about community inform his own politics, or if it's the other way around. Yeun is a big Bernie guy—supported him over Hillary in 2016—but was one of the first celebrities to come out publicly in support of Andrew Yang's presidential bid, along with Donald Glover and Dave Chappelle. ("My dream ticket was Bernie-Yang," he said. "I would have been so stoked, dude. I had the merch all in my head.") When I asked if the Yang campaign reached out to him for his endorsement, Yeun said he actually contacted the campaign first, which started a series of conversations. Yeun said he understands the frustrations with Yang and has plenty himself—particularly with Yang's inartful navigation of identity politics—but ultimately, he saw in the candidate someone who cared deeply about the working class and wanted to further a radical notion of providing people with cash so they could make their own choices. "I was like, that guy's willing to take the hits because he just wants people to get money in their hands, to have safety," said Yeun. "And it's not about how cool we look or how cool he looks. I'm like, yo, how many selfless people like that do you know? How many people are willing to eat crow on all sides, just to get the thing done?"
To be completely honest, Yeun doesn't know what's next for him after his star turn in Minari, especially with the virus still ambient. Yeun said he "wants to do everything"—which he knows is a vague answer, especially now that he's on the brink of a different stratum of fame. Superhero movies, maybe even going behind the camera—nothing's off the table. "I mean, Steven's going to direct. I don't know if that's completely in the cards, but he really should," Cohan told me. "He's very emotionally intuitive, and focused, and forward moving." Yeun said he's been getting scripts to consider, but he doesn't "really gravitate towards the things that feel obvious" and is resistant to roles that box him in. ("I'm sure I'm super annoying to represent," he added.)
But because this is Steven Yeun, he sees the other side of the conundrum too: "You know what's tough, man? I can see why people that are on the outside of us get confused." He proceeded to lay out a slightly disorienting metaphor: You say you don't want to play the kung fu guy, but then a few months later, maybe you do want to be the kung fu guy because, oh wow, some of these new kung fu roles they're writing are actually pretty sick. "And that's really the core condition that I think we're always at tension with, which is when we're always stuck in this white gaze, there's also this expectation to service it.… America is still not equipped to support the flyness of who we actually are," he added. "We're carving out our own space. It's frontier territory right now—still."
That all this success is happening against the backdrop of the pandemic has been its own journey. A conversation we shared one Friday night in February sticks with me. Things had already been on the heavy side, and we both were opening up about everything: how hard this past year has been, the friends and family we've lost to COVID, the health scares our loved ones are enduring. I noted how weird it must be to have the most critically acclaimed year of your career coincide with, well…all of this. "Life is mad real right now," he said, and his words just sort of lingered there as he stared off to the side. He didn't want to sound ungrateful, but he was trying to keep perspective. "We had a couple of COVID deaths in our families, and I mean…everyone's been touched by that. And I'm not saying who gives a shit about these [awards], like, anybody would want them.…" He said he's been trying to lean into the gratitude, to be accepting of the honorifics as they come. But it's been tough, especially with everything else going on in the world.
The weekend after that call, a series of graphic videos begin to make the rounds online in which elderly Asians are ambushed on the streets—attacks that seemed to be happening with more frequency, metastasizing from coast to coast, as if Asians are to blame for the ongoing virus. The footage is brutal, paralyzing—a swift punch to the gut. But the news, for whatever reason, is slow to break out beyond Asian American circles. I text my parents and ask them not to go on their walks without my younger brother present.
Yeun sent a text that Monday to ask how I was doing—how I was feeling about the attacks. I tell him that while I was heartened by how the community was organizing to protect its elders, it's odd that the news hadn't yet reached the mainstream media, especially considering how visceral the videos were. It felt as if everyone I knew was shouting into the void again, the suffering rendered invisible.
"I think it's also something to realize," he replied. "That we can't really count on others to step in for us. A lot of the discussion asks why others don't always see us, and I wonder if the prescription for the time being is to start seeing ourselves. We need to reach back and help our own communities." Fundraising for the victims, for example, is "something we can galvanize ourselves around." Yeun was worried about sounding too prescriptive here, but he's interested in finding actionable solutions that help break the cycle of Asian Americans talking about the same issues—representation, emasculation, etc.—over and over again into perpetuity. (I floated a slightly cynical and 15-percent-joking take: that perhaps we were expecting too much when it was only last summer that white people finally got comfortable saying Black Lives Matter, and it's like, wait a minute, now we gotta care about Asians too?)
I wondered if, on some level, he thought that the inability to break through was due to a dearth of leadership. Perhaps this was a downside of a collectivist approach. "I don't think that's a wrong thought," he replied. "But I think maybe it's more to do with the form that that leadership takes. I think the leadership needs to be pretty balanced, and that's hard. It has to be confident in itself. In Korean, the word for 'confidence' is jashin-gam. And jashin means 'self.' And gam means 'sense.' I think we don't know ourselves, but we are starting to.
"It can really only come from accepting who we are," he added. "And I think most of us spent a lifetime running away from that."
Shirt, $1,090, by Saint Laurent by Anthony Vaccarello. Vintage jeans Levi's from What Goes Around Comes Around. Hat, $215, by Stetson. Scarf, $95, by RTH.
One evening outside Tulsa, as the sun was retreating into the horizon, the Minari crew was wrapping up another long day of filming. Some of the camera crew were shooting B-roll, cows grazing against a chemical-washed sky, when an assistant nudged director Chung. Hey, look at Steve.
"Steven just had like the most grueling day ever on set, and his shirt is untucked and he comes out and he starts smoking a cigarette," Chung recalls. "And I look over and Steven just looks so worn down, he's just contemplating and looking at the sunset." Without saying anything, the crew decided to quietly start filming Yeun from behind some tall grass; he was squatting as he gazed off into the distance. The shot was so perfect, so elegant in its quietude, that they were able to cut the next scene from the script altogether. A small moment of good fortune.
"Later I asked Steven, 'So what were you doing in that scene when we were filming you?' " recounts Chung. "And he said, 'I was praying.' "
A few days later, I asked Yeun if he remembered what he was praying about.
"I think I was just…in it," he said. "I was just there. There's this—It's so corny, but I have it right here.…" Yeun rummaged through his things and unearthed a faded old poetry book called The Farm, by Wendell Berry. He found it at a used-book store in Tulsa while filming Minari, "on a bored weekend, just sifting through stuff," and the literalness of the title as it related to his life caught his eye.
"And then I found this passage," he said, flipping through the pages. "And it says… Where is it? This is wild.…"
And here, Steven Yeun began to read his favorite part of the poem:
"And so you make the farm, and so you disappear into your days, your days into the ground. Before you start each day, the place is as it is, and at the day's end, it is as it is, a little changed by work, but still itself, having included you and everything you've done. And it is who you are, and you are what it is. You will work many days no one will ever see; their record is the place. This way you come to know that something moves in time that time does not contain. For by this timely work you keep yourself alive as you came into time, and as you'll leave: God's dust, God's breath, a little Light."
Yeun explained that while he was staring off into the sunset, he once again found himself in that liminal headspace, trying to snap back to reality while letting go of Jacob, who at that point was "truly wrestling with God, trying to extricate himself from God, just being like, 'I am my own man.' " He was giving so much of himself to the role, submitting to it, and in return the work was subtly rearranging his molecules and changing, little by little, who Steven Yeun was.
"I hope we can all see that we don't exist without the other person," he told me once, optimistically. "Even if you don't know that person, that person validates your existence. They uphold your existence with their existence. And hopefully in understanding that, we'll be kinder to each other and appreciate each other more." In spending all this time with him for this story, I feel myself a little changed, too, with a small but abiding desire to use my time to be more generous, more open, more protective of the things that matter, more willing to choose gratitude when other, more seductive options might be readily accessible. "I'm here now and I don't know how I got here," he added. "In my head, it just feels like sheer luck. Hard work is in there, but mostly, it's just fucking luck."
He's working many days that no one will ever see; his record is the place.
Chris Gayomali is a GQ articles editor
A version of this story originally appeared in the April 2021 issue with the title "Steven Yeun's New Frontier."
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PRODUCTION CREDITS:
Photographs by Diana Markosian
Styled by George Cortina
Hair by Anh Co Tran at The Wall Group
Grooming by Hee Soo Kwon using Dior Backstage Face & Body Foundation
Tailoring by Susie Kourinian
Set design by Heath Mattioli for Frank Reps
Produced by GE Projects
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redpajama_set_name: RedPajamaCommonCrawl


The UK has the biggest number of teenage pregnancies in Europe. More than 40,000 teenagers become pregnant every year, this means 1 in 10 pregnant women is a teenager (8,111 of these are under the age of 16).
There is a common stigma of being a teenage parent. The tabloid press often depict the teenage parents as naïve, irresponsible and belong to the lower socio-economic groups. They are often accused of having children to receive more benefit or to enable them to jump up the housing list.
I wanted with this series of images and interview to look at teenage parenthood from a teenager's point of view. I wanted to look at the causes and effects for the teenagers and the joys and complications that come with having a child at a young age.
The images you see here are a small part of the series and are of teenagers from different socio economic backgrounds and from different parts of the UK.


text:
Canadian actress Megan Soo told she's not "enough" of one race – so wrote her own lead role - Online Free Press release news distribution - TopWireNews.com
Canadian actress Megan Soo told she's not "enough" of one race – so wrote her own lead role
Scarborough, Ontario, Canada, 11/30/2020 / RS /
"Sometimes you just know your personality fits the role, but sadly the only thing that doesn't is the color of your skin," 24-year-old actress Megan Soo says. The Canadian born multiplatform creator and performer is from a unique cultural background of Korean, Chinese and Trinidadian, meaning that she, like many actors from diverse backgrounds, suffers from a lack of roles for multiracial people.
Megan Soo entered into the early stages of her professional life with the intention of going into the fitness and health industry, feeling an expectation from her parents to get a science degree. But when she noticed a casting call for background actors in the Vin Diesel movie xXx: The Return Of Xander Cage, Soo felt compelled to apply. Up until this point, she had never considered acting, and had even almost failed drama in high school. She got the role and knew that was the moment she wanted to pursue acting. She's now studying for a film and production degree at George Brown University while also working as an actress, singer, and multiplatform content creator.
However the further Soo has ventured into the industry, she noticed just how lacking multiracial Asian roles were, especially being based in Toronto. "It has definitely been more difficult than I would have imagined," she explains. "Being a person of color and mixed, I got a lot of 'ethnically ambiguous' one liners or small role auditions." She noticed especially that background roles were looking for "ethnic people" far more than lead or supporting roles. "In my head it just seemed like there was always the one token person of color role, and then they would throw in some 'color' in the background," she explains.
"The amount of times I've heard that I 'don't look enough of one race or too much of another' is quite disheartening…I remember seeing an audition that fit my personality and look to a T. They were looking for an 'Asian-Chinese' actress, and I thought 'great I'm part Chinese and I grew up with a lot of the culture'…then they got back to me stating I didn't look Chinese enough."
She adds: "I feel like many people just think, 'Oh cool! You're mixed, that's so exotic' but they don't realize that being multicultural, sometimes you feel like you have to explain yourself for being part whatever just because you 'don't look it'."
Feeling disillusioned with the current audition circuit, Soo was motivated to write her own TV role. "I believe the feeling of not belonging or feeling like you don't fit in is worth telling," she explains. She wrote herself into the main role of her upcoming TV series TALES, in which she stars as Isabelle, a mixed raced girl who is half human and half mermaid, with all other mermaid characters roles reserved for other multiracial actors. While Soo is mostly tight-lipped about TALES, she alludes to a plot about humans polluting the Earth and oceans, before marine creatures retaliate. Inspired by her own unique experience of growing up as someone from a mix of unique cultures, she channeled her feelings of "not belonging" in the script.
Soo does believe the industry is slowly changing, encouraged by more Asian lead castings across the entertainment industry, such as the 2018 film Crazy Rich Asians, but believes there is more work to be done. "As for multiracial actors like myself," she says, "I believe there is a slow change but still we need to push for more diverse multi-ethnic castings. There is no reason why a mixed actor cannot play the lead role."
Find out more about Megan Soo and keep updated about TALES on her website and Instagram.
Media Contact: MEGAN SOO – [email protected]
Social Media Tags:Megan Soo, actress/singer/creator
Source: RS
Release ID: 15518
November 30, 2020 vision
press release actress/singer/creator, Megan Soo
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text:
Udayana may refer to:
 Udayana
 Udayana (king)
 Udayana Kirindigoda, Sri Lankan politician
 Udayana Warmadewa

redpajama_set_name: RedPajamaWikipedia


This was a road trip to visit my Aunt and Uncle in Aptos, California. It was my parents, my sister Monterey, and my Aunt Roma Ann. The first fun stop was to Sequoia National Forest. The trees were so amazing and the forest was so quiet and the trees so grand they demanded respect. I would describe is as a spiritual experience. We went on this trip back in March.
Then we went out to Point Lobos and did a hike. It was absolutely breathtaking!
The blossoms weren't quite out yet but the weeds were blooming beautifully!


text:
You are here » Home / News / Emmbrook Road closed 8 to 13 April
A section of Emmbrook Road in Wokingham will be shut from 8 to 13 April for work as part of the new A329 (NCN422) Cycleway.
It will be closed between the A329 Reading Road and Lowther Road for Wokingham Borough Council to realign the junction, do kerbing, footway/cycleway improvements and carriageway surfacing.
The closure has been timed to coincide with the Easter school holidays because traffic is lighter.
Residents within the closure will still have access but there may be times when they're asked to wait while a piece of work is completed.
The diversion for this closure is via Lowther Road, Old Forest Road and A329 Reading Road, or this route reversed.
The work in Emmbrook Road is part of the fourth 1.5km section of the new A329 (NCN422) Cycleway currently being built by the borough council from Landen Grove through Woosehill Roundabout to Holt Lane.
1.5-metre-wide cycle lanes are being created along both sides of Reading Road and will link into an existing on-carriageway cycleway.
These crossing points, signs, as well as bus stops, will be upgraded and large sections of footpath resurfaced. Work on this fourth phase is expected to last until the summer.
More details about the fourth section of the A329 Cycleway can be found on the council's news site.
The latest traffic conditions across the borough are also available by signing up to the council's text and email alerts or by checking roadworks.org.


A few weeks ago, workmen were laying out a pavement on either side of the Rabat road near the Ta' Qali intersection. A layby for the new buses, I thought! And so it was.
Little thought, if any, was given either to the Aleppo pine trees and the rubble walls along the stretches of the new pavement. The Aleppo pines, which characterise this stretch of road leading to Rabat, show a number of scars, now including fresh ones, resulting from mismanagement. Some of the trees are completely engulfed in concrete, some with nails hammered in them, further sealing their miserable fate at the hands of unsustainable mismanagement of the living natural heritage.
In the same stretch, part of the rubble walls were also heavily damaged! In an ingeneous, indigenous way, a brick wall was built on the rubble wall. As I slowed in the traffic to clear the roundabout intersecting the Żebbuġ, Mtarfa and Rabat roads – the one where sprinklers usually water much of the road as much as they water the turf – I could not help think and ask myself how the lack of coordination between ministries reigns supreme in this land.
A 'newly restored rubble wall' . What about the regulations for the protection of rubble walls? Well that is the responsibility of the Minster for the Environment and not of the Minister responsible for such works!
A couple of weeks ago, the Malta Environment and Planning Authority declared new tree protection areas. In the same legal notice (200 of 2011), signed by the Prime Minister himself, there are two schedules of protected trees. The Aleppo pine trees along Rabat road are listed in schedule II. They are more than 50 years old and are growing in an outside development zone area.
The brutal fresh pruning of the protected Aleppo Pine, which could only have been carried out by approval from the Minister of Rural Affairs and the Minster for the Environmnet.
Schedule II trees are protected to the extent that no person shall bury in the ground, dump, or deposit, any soil, manure, waste, rubbish, stones, rubble, scrap metal or any refuse near them; not even attempt to. Mepa is responsible for the administration, implementation and enforcement of these regulations.
Legal Notice 160 of 1997 protects rubble walls and non-habitable rural structures in view of their historical and architectural importance, their exceptional beauty, their affording a habitat for flora and fauna and their vital importance in the conservation of the soil and of water. It is unlawful to demolish them or to prevent free percolation of rainwater through rubble walls or to undermine the foundations of a rural construction.
The regulations add that no permit is required for sensitively executed repairs, provided that repairs are carried out using exclusively the same type of drystone rubble walling that composed the existing wall and that they do not significantly modify the overall profile or character of the wall. Again, Mepa is responsible for the administration, implementation and enforcement of these regulations.
Now, somebody in the corridors of power in this EU member state must be responsible for such works, unless, of course, someone convinces me that there is only a virtual government. The minister responsible for the environment cannot be held directly responsible for the works done but is directly responsible to ensure that environmental policies, laws and regulations are adhered to. He has a very expensive watchdog to see to this but it seems this watchdog is all bark and no bite.
The minister has the authority to direct in no uncertain way that the duty to protect the environment is not just his but is a collective political responsibility. As chairman of the National Sustainable Development Commission he has all the tools to do so. Unfortunately, as I finalised this article, I read in The Times that "Just before Parliament rose for the summer recess, Prime Minister Lawrence Gonzi, who is responsible for environment matters, confirmed that the National Sustainable Development Commission was disbanded in 2008 after the government approved the sustainable development strategy". And this despite national and EU obligations! Yet, we are also told that "the government puts responsibility for sustainable development at the 'highest level'".
What is the use of drafting regulations and national environment policies when some Cabinet colleagues and their staff are immune to the laws of the land? In the meantime, the watchdog, Mepa, like pale melancholy, sits retired, staring and ruminating its impotency to control the mauling of environmental and public assets.
I would not be surprised if I am taken to task by some colour-blinkered pen pusher on grounds that this is a trivial matter. Admittedly, I am not writing on the building of a new power station but the same concept, the same perception and the same vision (or lack of it) apply to both examples. First, go ahead with the development and, then, consider the regulations and see if there are any necessary permits to acquire. In the meantime, tell the gullible this is highest level of sustainable development at its best.
The long and winding road for protected trees in the Maltese Islands.
The Bisazza Street Syndrome (BSS) is rearing its ugly head – one legislates, another ignores. If BSS is not taken by the horns and immediately put in check, it will soon become the national environmental policy without any need for public consultations and without any need for backup legislation.
I can image that the picture of sustainable development to be submitted at the next UN Rio +20 conference in 2012 to mark the 20th anniversary of the Rio earth summit will be all nice and rosy: Malta puts responsibilty for sustianable development at the highest level while disbanding the commission to ensure that sustainable development is achieved.
According to Maltese politicians and their advisors, this is a tree - a protected tree!
Politically, to the applause of the gullible, it was the tree's fault moving in the bulldozer's path!
The dead branches of a mauled potected Aleppo Pine tree. Only possible with a permit from the Minster for the Environment and the Minster for Resources and Rural Affairs!
NO COMMENT - readers may wish to comment themselves.
One of the ARRIVA bus stops in the stretch of the new works. With the arrival of the new bus service, social, environmental and financial negative impacts have also arrived, though as I understand, some are still waiting for the buses.
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text:
Lepidocyrtus ruber är en urinsektsart som beskrevs av Heinrich Wilhelm Schott 1902. Lepidocyrtus ruber ingår i släktet Lepidocyrtus och familjen brokhoppstjärtar. Arten är reproducerande i Sverige. Inga underarter finns listade i Catalogue of Life.

Källor

Brokhoppstjärtar
ruber


text:
- On Windows:
	- Get VS 2012 Express from http://www.microsoft.com/en-us/download/confirmation.aspx?id=34673 (OpenCV does not support VS 2013 yet)
		- Settings: "Replace tabs by spaces"
		- Create your own Makefile for other toolchains

- SmartVideo app (Windows):
	- Setup OpenCV 2.47, 64 bit
		- On Windows: Close Visual Studio first!
		- Follow these four steps:
			1. Download version 2.47 from http://opencv.org/downloads.html
			2. Make sure you have admin rights. Unpack the self-extracting archive.
			3. Set the OPENCV_DIR system variable:
				- setx /M OPENCV_DIR "open-cv-install-path\build\x64\vc11\"
			4. Add the OpenCV library folder to your system PATH:
				- setx /M PATH "%PATH%;%OPENCV_DIR%bin\"
	- Run SmartVideo/smart-video-2013.sln (make sure that you have VS 2012)
	- Should work

- Viewer:
	- Run viewer by just executing: viewer/index.html
	- Chrome:
		- Allow Chrome to read local files from files (in order to run the viewer without a web server)
			- http://stackoverflow.com/questions/18586921/how-to-launch-html-using-chrome-at-allow-file-access-from-files-mode
			- Apparently, there is a bug - So you might have to add both "--allow-file-access-from-files -allow-file-access-from-files" to start Chrome
	- IE & Firefox:
		- Sometimes work, sometimes don't
		- IE might need some changes in your security settings
	- Enable debug console while developing:
		- Ctrl + Shift + J in Chrome
		- F12 in IE

- Data:
	- The data directory is defined in "cfg/config.json"
	- Data set configurations are defined in "cfg/clips.json" (currently only supports image sequences, gotta fix that)
	- Setup:
		- Download data sets from:
			- http://wordpress-jodoin.dmi.usherb.ca/static/dataset/dataset.zip
			- ftp://ftp.informatik.uni-stuttgart.de/pub/vis/vis-out/bse/dataset/SABS-Basic.rar
				- Alternative link: http://burnbit.com/torrent/235660/SABS_Basic_rar
		- Extract to some folder data-root
			- I placed it in: ../data/
			- If you have different folder, update "cfg/config.json" correspondingly
		- If you want to add more data sets:
			1. Also extract them into that folder
			2. Run "ls > cfg/dataset-name.txt" (a list of all image file names that comprise the video)
			3. Add entry to cfg/clips.json

- Coding Conventions
	- Indentation
		- Replace tabs with 4 spaces
	- Avoid raw pointers in C++
		- When to use what kind of pointer: http://stackoverflow.com/a/8376611/2228771
		- Ideas on avoiding pointers and why: http://blog.emptycrate.com/node/354

- TODO
	- a lot more...

redpajama_set_name: RedPajamaGithub


While watching the Channel 9 videos presented by Scott Hanselmann, Jon Galloway and Damian Edwards on the current MS web stack, I noticed the 'Herding Code' sticker on his computer. This points to a podcast that John Galloway hosts with others and where a broad spectrum of new technologies is discussed.
Xamarin 2.0: This used to be MonoTouch I believe, a subset of the Mono project with additional libraries for working with mobile ( touch enabled ) devices. This allows you to write .NET code for iPhone, Android etc.
Oak: Described as "Frictionless development for ASP.NET MVC single page web apps. Prototypical and dynamic capabilities brought to C#." - I'm going to have to look into that one.
Anyway - I'll be adding it to my podcast subscriptions and I'll be looking into these projects.


In December HEART instructors and Animal Haven staff put together an exciting Winter Wonderland party for kids of all ages as a part of the weekly Caring Kids program.
Woof! Meow! It's too cold out: Kids watched a video about the way one animal shelter is working to help protect dogs from freezing in the winter by bringing dog houses and straw to people who keep their dogs outside and encouraging people to bring their dogs indoors. They also learned about making winter shelters for feral cats and to be aware of the fact that feral cats sometimes climb into car engines in the winter to stay warm.
The Ice is Melting: Kids read a story about climate change, polar bears, and harp seals. Then they traced and cut out either a paper polar bear or harp seal and wrote one thing they can do to reduce their carbon footprint on their animal cut out. Then they posted their animals onto our Protecting Animals from Climate Change Pledge Board.
Every Family Counts!: Instructors read the story, And Tango Makes Three (a true story about two male penguins who raise a baby penguin together) and then talked with the kids about how there are all different types of families and what is important about a family. Kids then filled out their own winter family trees including their companion animals.
Homemade Snow Globes: Using reused jars, second-hand bear figurines and glitter, kids made homemade snow globes. Instructors talked to the kids about the importance of using reused materials to protect the planet by reducing consumption and saving our precious resources.
Then, of course, no trip to the animal shelter is complete without meeting a wonderful dog who is up for adoption. This pup certainly got a lot of love from these caring kids.
A big thank you to volunteers Gail Frydkowski, Christina Gdsis, Roland Regos, and Lousie Enten for helping make the event a success! We know that the kids learned a lot and had a ton of fun.


text:
Q: QT SerialPort Read Data I'm Writing data from QT to STM32 module. Now I want send data from STM32 Module and read from QT. How Can I do that?
QT Code For write data and send to STM32 Module.
QSerialPort  serial;
MainWindow::MainWindow(QWidget *parent)
    : QMainWindow(parent),
     ui(new Ui::MainWindow)
{
    ui->setupUi(this);
    serial.setPortName("com3");
    serial.setBaudRate(QSerialPort::Baud9600);
    serial.setDataBits(QSerialPort::Data8);
    serial.setParity(QSerialPort::NoParity);
    serial.setStopBits(QSerialPort::OneStop);
    serial.setFlowControl(QSerialPort::NoFlowControl);
    serial.open(QIODevice::ReadWrite);
    serial.write("Hello");

}

redpajama_set_name: RedPajamaStackExchange


text:
North York Central Library Blog
Elizabeth Posthuma Simcoe, 1762-1850
July 31, 2015 | Ann
This upcoming civic holiday honours the first Lieutenant Governor, John Graves Simcoe. A detailed biography on John Simcoe is available on the Historical Narratives of Early Canada website which provides a good account of his military and historical achievements.
John Graves Simcoe. Courtesy of the Archives of Ontario.
Credit in the development of Upper Canada could be shared with his adoring young wife, Elizabeth. This post will glance through Elizabeth Posthuma Simcoe's unique contributions in art, writing, and her support in shaping this new Canadian frontier.
Elizabeth Simcoe, 1790 and drawn by her friend, Mary Anne Burges in water colour taken from The Library and Archives Canada, no. 1972-118-2
Born in Northamptonshire, England on September 22nd in 1762, Elizabeth arrived into the world filled with bittersweet anticipation. Her father, Colonel Thomas Gwillim passed away several months before Elizabeth's birth while posted to Germany on January 29, 1762. No specified cause was recorded on the manner of his death. Elizabeth's mother, Elizabeth Sophia Gwillim, died within 24 hours after childbirth. In this midst of this deep sadness, her aunt, Margaret Spinkes, took over the care of her baby niece. Both the aunt and the aunt's mother chose to name her Elizabeth Posthuma--her first name in honour of her mother and her middle name to reflect the passing of her parents.
On June 14, 1769, her aunt Margaret married Admiral Samuel Graves. They met in the previous winter. The Admiral was 56 years of age and a childless widower. Margaret Spinkes was 42 years old. The Admiral saw Elizabeth as the child that he was unable to have and both aunt and uncle raised Elizabeth with the best of all intentions.
Admiral Samuel Graves (1713-1787), by James Northcote. This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights.
As Elizabeth was growing up, her family encouraged her to develop a positive outlook on life by providing various resources for her to explore. She developed her writing skills and wrote voraciously to family and friends far and wide; she explored the countryside on foot and on horseback and wrote copious details of her journeys; and she developed her artistic skills in sketching and painting. She also studied botany and that knowledge dovetailed nicely with her interest in painting landscapes.
In 1777 when Elizabeth turned fifteen years old, she met a handsome commanding officer twice her age. At the age of 30, the wounded Lieutenant Colonel, John Graves Simcoe, returned to England to convalesce after the British Army's defeat in Yorktown. Admiral Graves extended an invitation for John Graves Simcoe to stay at Hembury Fort House while recuperating. Since Elizabeth had a large dowry, the aunt and uncle paid careful attention to the men who showed an interest in her. In John Grave Simcoe's case, John's parents were close friends. Admiral Graves was the godfather of John Simcoe and had Admiral Graves' surname for his middle name.
Over time and daily interaction in residence, both John and Elizabeth quickly fell in love to the delight of Margaret and Admiral Graves. The two remained in contact and by September 1782, John and Elizabeth became engaged. On December 30, 1782 they were married. Soon after they were married, Elizabeth purchased five thousand acres of land and built a forty-room mansion and called it Wolford Lodge.
Fast forward to nine years later, after the births of five daughters between 1783 and 1790, her first son, Francis, was born in 1791--two more daughters (one in Toronto and the other in England) and one more son was born (in England) later for a total of nine children). In the same year, her husband accepted an assignment to travel to Upper Canada as the new Lieutenant Governor. Ensuring that her children were cared for, her children either remained at Wolford Lodge and stayed with other family or they came along with her.
Elizabeth Simcoe began painting Canadian landscapes and waterways. She captured the Magdalene Islands in the Gulf of St. Lawrence on her journey to Quebec City.
Isle of Entry in the Gulf of St. Lawrence. Courtesy of the Archives of Ontario
When the couple arrived in Quebec on November 11th of 1791, Elizabeth sketched her first sleigh ride which she expressed as quite 'jolty' and the journey as very cold.
Officers and Canadian Carrioles. Courtesy of the Archives of Ontario
As the Simcoes settled in Quebec, on December 26th, The Constitutional Act of 1791 came into being and was the first step in amalgamating the land for this new country. On June 5, 1792, the Simcoes continued on their journey through Upper Canada in Ottawa and stayed at the Chateau de Ramezay which could be one of the oldest buildings in Canada.
Government House, Chateau de Ramezay in Montreal. Courtesy of Fadedpage.com. This work is in the Canadian public domain.
She wrote in her journal:
Sun. [June] 17th—The joy I felt in finding myself in spacious apartments was checked the next day by finding the heat more insufferable than I had ever felt. The thermometer continued at 96 for two days, and the heat was not ill-described by a sentinel who exclaimed, "There is but a sheet of brown paper between this place and hell." In the town are abundance of merchants' storehouses, the doors and windows of which are iron, and many of the houses, as well as churches, are covered with tin. By these circumstances, I believe, the heat is increased. The Government House is built on arches, under which are very large offices, which might be made very comfortable summer apartments. (The Diary of Mrs. Simcoe, 1911)
The Simcoes traveled to Kingston and briefly considered Kingston as the capital of Upper Canada but the location and geography did not appear to be suitable. Days later, they sailed to Niagara where Elizabeth captured the breathtaking Falls in water colour. The family stayed here in Newark (today is called Niagara-On-The-Lake) for several months. On January 16, 1793, her daughter, Katherine, was born.
Niagara Falls in Ontario, Canada. Courtesy of the Archives of Ontario.
She wrote in her journal her impression of the Falls:
On the American side the river passing over a straight ledge of rock has not the beauty of the circular form or its green colour, the whole centre of the circular falls being of the brightest green, and below it frequently seen a rainbow. (The Diary of Mrs. Simcoe, 1911)
Even today, her words appear to ring true. Many current visitors can attest to the same visual beauty from its roaring depths.
In July, her ship, the Mississauga, entered the Toronto Harbour.
Looking south towards Gibraltar Point. Courtesy of the Toronto Public Library
John and Elizabeth explored this region by canoe, horseback, and on foot and John noted that this harbour appears well protected by the Toronto Islands in the south and he named spit on the Island, Gibraltar Point.
Sadly, not all of Elizabeth's journey was positive. Elizabeth's daughter, Katherine perished on April 1792 at 14 months old. She was buried in the Old Garrison Burying Ground which is currently a park renamed Victoria Memorial Square near Fort York. CityNews wrote an article on this interesting plot of land.
On a happier note, her first son Francis Simcoe survived the Frontier. The family created a lovely castle in his honour and named it, Castle Frank.
Castle Frank, 1796. Courtesy of the Archives of Ontario
Sadly, Castle Frank is no longer standing and through time, several changes to the landscape occurred. On September 11, 1796, the family returned to England and never returned to Canada to enjoy this residence.
Elizabeth's diary entries are worth reading and revisiting. Consider perusing these interesting titles to appreciate her remarkable journey:
On this special day, consider riding to the Toronto Islands by ferry and visiting Gibraltar Point, gaze down the brilliant green Falls in Niagara, Ontario, stroll through Fort York and watch the British soldiers march in formation, and reflect on Elizabeth's journeys as you wander along the Castle Frank Brook on your travels. Much of the Canadian and Toronto traditions were inspired by John Simcoe and then brought to life in muted colours and lively written text by Elizabeth Simcoe centuries ago.
Enjoy the long weekend!
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(4-Aminophenyl)acetonitrile is only for laboratory use. (4-Aminophenyl)acetonitrile can also be found under its synonyms cas 3544-25-0 or the MDL number . For the COA of cas 3544-25-0 or the MSDS sheet please send an inquiry via email. This chemical structure has a Molecular weight of 132,165 and chemical formula is C8 H8 N2.


Programmer Martin Weeks' ETC Gio® console still looks brand new. You would never guess it had seen action on a few hundred episodes of the ABC hit series Castle . "I love my Gio, but most of the time I turn it on in the morning and off at the end of the day. The real work is done by the Magic Sheets, which have dramatically changed my workflow," explains Weeks. The Magic Sheets allow the operator to create a separate touchscreen showing all the fixtures and their levels without using the faders or submasters on the main console.
Now in its eighth season, Castle is shot on two standing sets on stages 11 and 12 at Raleigh Studios in Hollywood. Their level of scenic detail is masterful. Using ETC Net3 Gateway , Weeks has fingertip control of light levels in the New York City police precinct and Castle's loft apartment. "The sets are big - 75 feet by 25 feet - so it took some time to scale the Magic Sheets to a usable size, but now they are a lifesaver. When you're dealing with up to 100 setups a day and 22 episodes a season, every minute counts," says Weeks.
He got his start as a technical director in Los Angeles, working at the Falcon, Tiffany and Coronet theaters, and broke into television as a gaffer for a telenovela. After a few seasons on Brothers and Sisters , he joined Castle in season three for one episode, and never left. Apart from an early encounter with a Colortran Scene Master 60, the ETC console line - starting with Expression® - has become his stock in trade: "When I first joined Castle, the show had been shot on film and - as was the tradition in the studios - did not use a lighting console. It was definitely old school." By season three, they had made the switch to digital and started using an ETC Expression 3, and an Ion® by season four.
With the exception of a few practical lights on satellite packs, the show is still not run on dimmers. The traditional tungsten fixtures are controlled by relays. "At first I was worried about creating custom curves for all that relay control, but on the Gio it turned out to be a snap. I was able to copy and paste very quickly," says Weeks.
In years of programming shows on ETC consoles, Weeks has had few hardware failures and does not run a backup console. The ETC Gio drives a Net3 Gateway that breaks out to about 700 DMX channels.
In Hollywood, it is common to be an owner/operator and Weeks is no exception. He owns a Gio, an Ion and several Net3 Gateways, and is a big fan of the Selador® Desire® D22 fixtures . For a recent episode, he used these exclusively to light a church interior and was able to pick the precise GAM color using the Selador Color Picker on his ETC iPhone application.
Above all, Weeks feels at home within a very supportive family of ETC users: "The quarterly programmer meetings at ETC West are amazing. I have learned so much from other programmers who really helped me when I started out with the Magic Sheets. On top of that, I always get answers from ETC's Facebook page and the tech forum. I have called Wisconsin at 11:00pm on a Sunday night and spoken to tech support. I can't say enough about how reassuring that is! One day I want to get out to the factory for a CUE conference."
On the top of Weeks' wish list is the latest Eos Ti® console . With vocabulary more suited to desserts, supercars or supermodels, Weeks adds: "That is one luscious console."


From version 7.0 application provides much easier Picasa integration which will take just few clicks. When FaceCapture feature is enabled, application takes a picture of an employee after an ID card is scanned and pictures are automatically uploaded to Picasa album.
Obviously, everything works even if you are not online and pictures will be uploaded as soon as you get online again.


They allow tracking visits from other websites, with which the website establishes an affiliation contract (affiliation companies).
_gat: This cookie is associated with Google Analytics Universal. It is used to limit the speed of request - limiting the collection of data on high traffic sites. Expires at 10 minutes.


text:
Dixit Dominus (z łac. Powiedział Pan...) – łaciński incipit Psalmu 110 (109)
 Dixit Dominus – kompozycja Georga Friedricha Händla


At Murray Nankivell we've made it easy to make an appointment with us. Simply enter your details in the boxes below and click Send request now when you have completed your details. We will contact you to confirm your appointment.


text:
World Port Centre
Rotterdam Holland Tourist Information and Travel Guide
The World Port Centre is a 123 meter high-rise building located on the south side of the River Maas. It is situated in the Kop Van Zuid district of Rotterdam Holland.
World Port Centre in Rotterdam Holland
The round building was built in 2001 and stands near the taller Montevideo Tower which reaches a height of 152 meters.
* LANDMARKS *
Erasmus Bridge
Het Park
Nieuwe Maas River
Willemsbrug Bridge
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A franchise quarterback, a core of young playmakers and a Super Bowl win in hand. There's too much to like about the Green Bay Packers this 2011 NFL football season.
Last weekend, four high-ranking NFL personnel executives, on the promise of anonymity, agreed to predict the conference champs and Super Bowl winner for the 2011 season, and all chose Aaron Rodgers and the rest of the Green Bay Packers at least to return to the Super Bowl. Two picked them to win the title, a third chose New England and the fourth San Diego.