Acts 2:41 Then they that gladly received his word were baptized: and the same day there were added unto them about three thousand souls. 42 And they continued stedfastly in the apostles??? doctrine and fellowship, and in breaking of bread, and in prayers. 43 And fear came upon every soul: and many wonders and signs were done by the apostles. 44 And all that believed were together, and had all things common; 45 And sold their possessions and goods, and parted them to all men, as every man had need. 46 And they, continuing daily with one accord in the temple, and breaking bread from house to house, did eat their meat with gladness and singleness of heart, 47 Praising God, and having favour with all the people. And the Lord added to the church daily such as should be saved.
Hebrews 11:23 By faith Moses, when he was born, was hid three months of his parents, because they saw he was a proper child; and they were not afraid of the king???s commandment. 24 By faith Moses, when he was come to years, refused to be called the son of Pharaoh???s daughter; 25 Choosing rather to suffer affliction with the people of God, than to enjoy the pleasures of sin for a season; 26 Esteeming the reproach of Christ greater riches than the treasures in Egypt: for he had respect unto the recompence of the reward.
John 6:22 The day following, when the people which stood on the other side of the sea saw that there was none other boat there, save that one whereinto his disciples were entered, and that Jesus went not with his disciples into the boat, but that his disciples were gone away alone; 23 (Howbeit there came other boats from Tiberias nigh unto the place where they did eat bread, after that the Lord had given thanks:) 24 When the people therefore saw that Jesus was not there, neither his disciples, they also took shipping, and came to Capernaum, seeking for Jesus. 25 And when they had found him on the other side of the sea, they said unto him, Rabbi, when camest thou hither? 26 Jesus answered them and said, Verily, verily, I say unto you, Ye seek me, not because ye saw the miracles, but because ye did eat of the loaves, and were filled. 27 Labour not for the meat which perisheth, but for that meat which endureth unto everlasting life, which the Son of man shall give unto you: for him hath God the Father sealed. 28 Then said they unto him, What shall we do, that we might work the works of God? 29 Jesus answered and said unto them, This is the work of God, that ye believe on him whom he hath sent.
Psalm 111 Praise ye the LORD. I will praise the LORD with my whole heart, in the assembly of the upright, and in the congregation.
2 The works of the LORD are great, sought out of all them that have pleasure therein.
3 His work is honourable and glorious: and his righteousness endureth for ever.
4 He hath made his wonderful works to be remembered: the LORD is gracious and full of compassion.
5 He hath given meat unto them that fear him: he will ever be mindful of his covenant.
6 He hath shewed his people the power of his works, that he may give them the heritage of the heathen.
7 The works of his hands are verity and judgment; all his commandments are sure.
8 They stand fast for ever and ever, and are done in truth and uprightness.
9 He sent redemption unto his people: he hath commanded his covenant for ever: holy and reverend is his name.
10 The fear of the LORD is the beginning of wisdom: a good understanding have all they that do his commandments: his praise endureth for ever.
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Originally due to be sold to developers MEPC, Kemble airfield is now being sold to the Kemble Heritage Group. MEPC dropped its bid after it was learned that English Heritage was planning to list buildings on the site.
Kemble Air Services joined up with two businesses located at the airfield, Iron Mountain (Europe) and Rapid Racking to form the consortium.


This intricately cut waterjet mosaic will effortlessly upgrade your ambiance and bring a touch of understated class into your home with this truly magnificent selection.
Carrara White Casablanca Passion Waterjet Mosaic is blended with Vizag Gray Marble to get this gorgeous and an eye pleasing flower buttons. This creates the next luxurious entry in our Waterjet collection.
This intricately cut waterjet mosaic will effortlessly upgrade your ambiance and bring a touch of understated class into your home with this truly magnificent selection. Due to the nature of stone, variations in color and veining may occur. This is the natural beauty of the product.
Each product is 11 in x 11 in x 0.38 in.


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Toowoomba man's link to car racing legacy
Tony Murphy and his Mustang. Picture: Bev Lacey
Alexia Austin
2nd Dec 2019 6:00 AM
THE release of Hollywood film Ford vs Ferrari was hotly anticipated by many, but none more so than Toowoomba car enthusiast Tony Murphy.
Mr Murphy was only young when he first came across the film's protagonist, legendary American race car driver Carroll Shelby, who was splashed across the pages of the car magazines he would read.
"I have six brothers and we were all interested in cars," Tony said.
"It was back in the 60s, when he was racing the Cobras - there wasn't much news about it in Australia, but we'd see him in the American magazines we would buy."
Mr Murphy said it didn't take long for him to become a fan. He continued to track the American's move from racing into the design and production of some of the world's most sought after cars, one of which being the Shelby Mustang.
Iconic car: Iconic car
The first edition of the car was so rare in the 80s that there was thought to be fewer than a dozen in Australia, but, as luck would have it, Mr Murphy stumbled across one unexpectedly.
"I owned a brand new two-door Falcon Cobra at the time, which they had only made 400 of," Mr Murphy said.
"I ended up swapping it for a 1966 Shelby Mustang which was on a used car lot in Brisbane - I saw it in an ad in The Courier Mail. I knew what it was, a very rare car, but no one else did.
"It was $7000 back then and I drove it to Toowoomba that day. I got half way up the range and the transmission went."
Mr Murphy restored the car to working order in the 80s and it still holds a place in his collection today, alongside a Ford Falcon (XC) hard top, 1959 Ford F100 pick-up and a 1966 Ford Country Squire Galaxie wagon.
It is thought to be the only one of its kind in Toowoomba.
"It's been a great car and I think it's a worldwide collectable now," he said.
"It's still in a fairly original condition."
Tony Murphy and his Mustang. Photo Contributed
This wouldn't be Mr Murphy's only brush with Carroll Shelby and his legacy.
"Later on, in the 90s, I was part of the Shelby American Automobile Club," he said.
"They organised a cruise in the Mexican Riviera in 94, so I signed up for that.
"It turned out Carroll Shelby was the guest speaker and he ended up spending a fair bit of time with everyone."
Mr Murphy said Shelby was just like he had imagined, a friendly man with a "real deep, gravelly Texan accent".
"He said he had been to Australia quite a few times, and he had quite a few New Zealand and Australian friends," he said.
"He was great to talk to, very friendly."
Years have passed and now Mr Murphy has had the chance to see Shelby's tale reprised for the big screen in Ford vs Ferrari, something he said has been done well.
"I was impressed with the film and I actually saw it twice," he said.
"I don't think it was over-Hollywood and it was relatively true to the story. The best part of it is the racing footage, there was no CGI, they are actually on the track for that."
With the film finished and the story told, a piece of Shelby history will always remain here with Mr Murphy in Toowoomba.
ford v ferrari shelby mustang
premium_icon Rdio star shares 'big moment' in sobriety

redpajama_set_name: RedPajamaCommonCrawl


Dan Ticktum showed great speed and determination around the Red Bull Ring this weekend, taking home valuable points to keep his Rookie Championship lead in the seventh round of the Formula Renault Eurocup.
The weekend got off to a good start with Dan setting some of the fastest laps in the collective tests on Friday. His good run continued into the afternoon and the next morning for the qualifying sessions, where he qualified a strong P3 in his group during both outings.
Dan started Race 1 from P5 on Saturday afternoon and held onto his position throughout the first corner melee. Determined to race for the podium, the Red Bull Junior Team driver took the battle to Will Palmer early on and overtook him in an inspiring move to take P4. Dan then fought hard to catch the front pack but was unable to make up the time, finishing the race in P4 which became P9 after he received a 10-second penalty for an 'illegitimate move'.
Starting Race 2 from P5, Dan became involved in a fight for positions throughout the first few laps but despite dropping two places in the heat of the battle he fought his way back up the field, overtaking Max Defourny on lap 6. Although he had the speed to chase down more cars, a couple of safety cars prevented Dan from improving much more and he eventually finished P5. The British driver now goes into the summer break leading the Rookie Championship and a strong sixth in the general classification.
Dan Ticktum: "It was a shame about Race 1, I was defending, we didn't make contact but they applied the rules and I got penalised. It was a good race apart from that and showed again that we are very competitive.
"Sometimes these things just don't go your way and the weekend was like that really. The pace was there and it could easily have very much gone our way but we can be happy with what we did, still leading the Rookie Championship.
The next round of the Formula Renault Eurocup will take place at Pau Ricard from 25 – 27 August.


The husband and wife duo that I heard were phenomenal. They played sonatas by Debussy, Saint-Saëns, and the Sonatensatz by Brahms. I expected the performance to be good given their educational background, but they far exceeded my expectations. Besides their depth of expression, there was not a split second where they were not completely together the entire evening.
Besides the obvious reason that they are both exceptional individual players, in my opinion it is the time spent learning and discovering the pieces together that makes the duo so enjoyable to listen to. I think you can take any "all-star" chamber group of famous musicians, put them together, and you will get a pretty good performance. But there is something deeper and more meaningful in performances when the group rehearses pieces for long periods of time. "Living" with a piece, the ensemble becomes "in tune" with each other. Rather than two or three different interpretations, you get a completely uniformity of purpose in the musical expression.
Of course, this goal is not always possible, given our varying situations of gigs, short term accompanying jobs, etc. However, I think if we are looking for the most satisfying musical experience, we should strive to form consistent ensembles that we can work with on a regular basis. In this way, we can learn pieces together, come back and revisit pieces we've done before, and in so doing, improve our "ensemble" playing!
I recently played an organ 4-hand piece with another organist, a player whom I will say right off the bat, is much more accomplished than I am on the instrument. It was a real treat for me to play with her, and I feel like I learned a great deal from the collaboration.
We rehearsed and performed an organ duo by J.C. Bach (one of J.S. Bach's sons). This was not only the first time I had played an organ duet with someone, it's also the first time I had played anything by J.C. Bach on the organ. I have played plenty of Classical era pieces on the piano. However, there are stylistic things that are done on the organ that differ greatly from the piano. Phrasing, articulation, and dynamic contrast are just a few of the musical elements that are achieved very differently on the two instruments. I have not been trained much on the organ, so I find myself extremely eager to hear accomplished organists play. With the absence of instruction, we learn primarily through listening and being exposed to other performances.
The only way we could create a good "ensemble" at the organ was to listen to each other. I felt like I didn't have a good grasp on style for this piece, so I listened very intently to my duo partner. If she phrased a passage in a certain way, I would need to follow it and phrase the same way. The piece has a lot of dialogue between the primo and secondo parts, so this method worked well. I basically learned by imitation.
1. How does my part relate to the other parts at this spot in the piece? Do I have a motive that has been heard before? How was it phrased/articulated previously?
2. Are we all breathing together where possible?
3. When am I in unison/octaves with another voice/part? Are we listening and tuning to each other?
4. Why not try playing the piece at 2/3 tempo or even 1/2 tempo to see how the parts relate to each other?
5. Get your hands on as many recordings of other ensembles playing the same piece. Avoid listening to only one interpretation.
International Trumpet Guild 2014 in Valley Forge!
The International Trumpet Guild's 2014 national conference happens to be in Valley Forge! It's exciting to have the conference so close to home this year. Most of the events and activities will be from May 20-24, 2014 at Valley Forge Convention Center.


This week we visited Clerkenwell Design Week to explore the upcoming trends in the Design industry.
As part of Clerkenwell Design Week, our Design Associate Luke Thomas did a talk on Kitchen Lighting hosted by bulthaup Clerkenwell. If you missed the chance to hear about Kitchen Lighting, read some Kitchen Lighting tips here.


ERK activation by the polyphenols fisetin and resveratrol provides neuroprotection in multiple models of Huntington's disease.
Fisetin induces autophagic cell death through suppression of mTOR signaling pathway in prostate cancer cells.
A plant flavonoid fisetin induces apoptosis in colon cancer cells by inhibition of COX2 and Wnt/EGFR/NF-kappaB-signaling pathways.
Fisetin, a novel dietary flavonoid, causes apoptosis and cell cycle arrest in human prostate cancer LNCaP cells.
Flavonoid fisetin promotes ERK-dependent long-term potentiation and enhances memory.
Wogonin and fisetin induce apoptosis in human promyeloleukemic cells, accompanied by a decrease of reactive oxygen species, and activation of caspase 3 and Ca(2+)-dependent endonuclease.


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Make Way for the 2018 Holden Commodore
May 9th, 2017 Cars / Vehicles
2018 marks a new era as GM's Opel Insignia will be rebranded as the Holden Commodore.
The Commodore has been a staple on Aussie roads for nearly four decades, but next year Holden will no longer be producing cars locally. Instead, the cars will be made in Germany. Naturally, everyone is on the lookout for the first batch to be rolled out next year.
What's in store for you
The new model will be 200kgs lighter than its predecessor, making it shorter and narrower. Fans of the Commodore SS might not be thrilled about its smaller appearance, but they'd definitely appreciate saving on fuel and not exhausting its engine as much.
To give you a better idea, the grille gets a more subtle look to complement the simpler side profile, while the rear comes in a lift-back style. Customers could also get their hands on a Sportwagon body shape, or the crossover-SUV style for those wanting a bit of character. That said, it definitely has a European feel.
Now, the units will hold a V6 engine with a nine-speed automatic transmission and torque vectoring system giving power to its all-wheel drive. Changing from Standard to Tour or Sports drive mode is also a breeze. Drivers will have a choice from a 2.0 litre turbocharged petrol or diesel engine. Equipped with GM's FlexRide, the suspension is adaptive to give everyone a smoother journey.
No one wants to miss out on all the smart technology found everywhere today. That's why next year's offering will have adaptive cruise control which allows you to maintain a safe distance from other vehicles. Another feature is its lane departure warning coupled with the lane keep assist, ensuring drivers avoid abruptly switching lanes.
There's an AEB (Auto Emergency Braking) that's activated when the car is in danger of colliding with obstacles. This system is so important that the TAC came up with a commercial to tell drivers about its benefits.
If you're looking for comfort, it has massaging front chairs to make long rides bearable, and you can get extra space at the touch of a button when you fold the rear seats. Changing seasons isn't a problem as the seats can be heated and cooled. Quiet time is easy thanks to an active noise-cancelling interior.
The 2018 Holden Commodore has a lot going on. Naturally, you wonder what it's going to cost. We believe the price will be $39,000 more or less for the Evoke models. Fans could expect more changes as General Motors, owner of Holden, has been taken over by PSA. There's no need to worry as representatives have expressed they're committed to the brand.
That said, you've got the information to help you decide whether you should get a new Holden Commodore or not. Talk to us about car finance options to jump into one as soon as they launch!
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The Creative Boom Podcast: Christmas Special 2022
It's been two years and nearly a hundred episodes since we launched The Creative Boom Podcast. With 2023 fast approaching, we thought a Christmas Special might be in order. One that celebrates how far we've come and pays tribute to the people who helped us get here but also allows us to look ahead and consider what's next.
What better way to do so than return to our very first guest? And that's Malcolm Garrett. The esteemed graphic designer and creative director also happens to be one of the co-founders of Design Manchester, an annual festival in our home city and one that holds a special place on the international design calendar.
It's actually where we headed last month to meet Malcolm but also catch up with other former guests of our show plus meet some new names. It seemed particularly fitting to make our Christmas Special during Design Manchester, as this year's theme is about Legacy – something that honours the late great Professor David Crow of the Manchester School of Art, who was one of the champions and supporters of the festival.
Held in the Benzie Building of the esteemed art school, the event meant that everyone was reflecting on the legacy of Design Manchester as well as their own creative journeys, and how that legacy plays into the future. It was an honour to capture some of that reflection for Creative Boom – much of which we'll share now. And to just add a little fun, we asked everyone for their own Christmas memories – a time of year that means something different from one person to the next. But whether good or bad, it was agreed that the festive season brings people together. And I also asked about new year resolutions and how they feel about 2023.
We kicked things off with Malcolm but then also chatted with former Creative Review editor Patrick Burgoyne, creative director and stylist Harris Elliott, graphic designer and artist Ian Swift aka Swifty, graphic artist Anthony Burrill, designer and artist Sarah Boris, artist and illustrator Stanley Chow, designer and digital whizz Zoë Hitchen, material and performance artist and artistic director Naitiemu Nyanjom, designer and illustrator Jane Bowyer, designer Ian Anderson of The Designers Republic, and Sir Misha Black Awards Chairman and Arts University Bournemouth Honorary Fellow, Mary V Mullin.
That's it for Season Five of The Creative Boom Podcast. We're going to take a short break, but we will be back in 2023 with lots of new guests, covering many different themes – topics important to you as a creative professional. Until then, from myself and everyone at Creative Boom, we wish you a Merry Christmas and a prosperous and peaceful New Year.
Deliberately closing down a design studio to go freelance again, with Angela Roche
It's our final guest of season five. Angela Roche is a graphic designer and creative director who runs Manchester studio, Love & Logic.
We've been trying to get Angela on the show for quite some time. Disclaimer alert: we're great friends and once shared an office when she was running Design By Day – a brand and digital agency that had tremendous success, working for clients such as the NHS, Barnardo's, and Brother.
We fondly remember leaning out of the window of our Northern Quarter base, watching the world go by as we helped each other figure out all the challenges of running a business. Or when we had swivel chair races across the floor. Or create fun videos for her agency's Instagram feed. Or when we dressed one of our team as a 'hipster', complete with a fixie bike, turned-up jeans and a little hat. They were great times and great people: Sami, Jonathan, Rob (whom we've also had on the podcast), Parham and many more that followed. Angela looked after them all, offering a great place to work and grow.
But after 12 years – 16 months spent during the pandemic – Angela found herself at a difficult crossroads. After much soul-searching, which we can imagine wasn't easy for someone we know who cares hugely about other people, Angela decided running an agency wasn't for her anymore. And so, she closed Design By Day and launched her solo venture, Love & Logic.
In this episode, we'll talk about building a design agency and its many challenges, and we'll hear of Angela's experience of closing it down, despite its success. We'll cover themes of the fear of failure, confronting gut feelings, and opting for difficult choices when you know they involve more than just you.
Leaving a comfortable job in graphic design to become a freelance illustrator, with Meredith Schomburg
Our next guest is Meredith Schomburg, a Brooklyn-based illustrator originally from North Carolina. Today, we'll be hearing about the interesting twists and turns of Meredith's career thus far. Like many of us, she was told as a child that art wouldn't make a living, so she went down the more "constructive" graphic design route.
After graduating in the field from North Carolina State University in 2015, she secured an internship at IDEO in Boston, which led to her first full-time job at a small creative shop before landing the role of Experience Designer at Airbnb in San Francisco a year later.
In 2019, she joined Koto in LA as a senior designer. It was during her time at that studio when the pandemic hit, which proved to be especially difficult for Meredith but also valuable. She realised she really did want to pursue a career in art, turning to illustration as her full-time gig. Well, it's been almost a year since she went freelance, all is going well, and she's just been signed by the agency, Jelly.
In this episode, we talk about Meredith beginning her journey as a fully-fledged illustrator, having previously worked in-house at some of the world's leading brands and design studios. We hear more of how she found herself in a bit of a bad patch during lockdown and why she decided to move away from a full-time design role. And then we get to grips with how she made that happen, how she found her optimistic and colourful style, and how she kept going. And how her voice has finally taken shape.
We even talk about all that practical but necessary business stuff. Because, as a freelancer, no one really tells you what it takes to work for yourself, so she was keen to share what she's learnt on that and much more.
Creating a Neighbourhood Skate Club to tackle sexism & women's issues, with Lyndsay McLaren
This week's guest is Lyndsay McLaren – account director at All Conditions Media and founder of Neighbourhood Skate Club.
Lyndsay has spent the past decade in marketing and creative communications for action sports, outdoors, fashion and lifestyle brands worldwide. We're talking Patagonia, Go Pro, Adidas, Arc'teryx, Yeti and many more. Originally from Scotland, she graduated in Corporate Communication from Robert Gordon University in 2008. But then went to the States to study Performing Arts at the University of Florida, where she discovered a passion for skateboarding.
That's where she stayed for a while, securing her first step on the career ladder at Bern Helmets in Boston before returning to the UK in 2014 to further her career in the outdoor and action sports world. It's been a whirlwind adventure ever since. She spent five or six years in London, where she continued her love of skating and also launched Neighbourhood Skate Club, which aims to create more opportunities for women in the UK to skate, connect and community-build. It's also designed to address issues such as consent, street harassment, domestic violence, sexual harassment, catcalling and male violence against women - while offering support to survivors and victims.
Today, Lyndsay is based in Leeds after the pandemic forced her to take stock and realise she needed to leave the capital. It's where she continues to run the Club and work for All Conditions Media, immersing herself in the production and marketing world of extreme and outdoor sports.
Her new project and short film, A Land For Everyone, is something she's also recently been involved with – it aims to show skateboarding in a new light while breaking down some of the barriers that exist within the sport - and in fact, action sports and the outdoor industry in general. We sat down with Lyndsay to discuss all of this and discover why – despite everything she's been through – she's hopeful for the future.
The power of side projects and spreading positivity, with Dyneisha Gross
This week's guest on is Dyneisha Gross, an American graphic designer based in Washington DC, currently working at Ogilvy, one of the most respected creative agencies in the world.
Dyneisha describes herself as someone who loves to tell stories, spark conversations and solve problems, starting with paper and a good writing utensil. Her punchy and colourful work reflects her bubbly and outgoing personality. And it was also one of the things that got her noticed after university, leading to awards and recognition that put her work in front of Ogilvy and landed her that dream job.
A graduate of Graphic Design from the Pennsylvania College of Art and Design, Dyneisha spent her final year in the depths of the global pandemic, trying to navigate the "new normal" and finish her degree. She began a side venture to keep herself sane during that time, creating and selling greeting cards in her distinct lettering style. These cards feature many positive messages that she admits act as affirmations for living a good life.
In this episode, we talk about the struggles she's overcome, the lessons of lockdown, and what she's found has helped her get noticed and succeed in her current career. We talk about social media and how it can be a blessing and a curse. We delve into the content she creates, which shows how she loves to spread some love and positivity, helping others in a similar position to succeed.
We also talk about diversity in the industry and how she feels about the future of design. It's always great to hear from those at the beginning of their creative careers, and Dyneisha doesn't hold back.
The importance of collaboration and play in creativity, with Michael Freimuth
This week, our guest is Michael Freimuth – the co-founder and creative director of Franklyn, a respected design studio in New York City.
If you find yourself on Michael's personal website, you immediately get a sense of his character. There's a whole heap of humour and a dose of humility. He doesn't take himself too seriously but is passionate about the people and causes he gets behind. Whether he's focused on branding, design or illustration – collaboration and play are at the heart of everything he does.
A graduate of the Rhode Island School of Design, Michael's already enjoyed much recognition during a varied and rewarding career. He received the ADC Young Guns and New Visual Artists awards early on, recognising the world's top creatives under 30. A decade later, he's happily still at the helm of Franklyn, but much has changed since the pandemic and, more recently, since becoming a father.
In this episode, we get quite nostalgic, talking about Michael's childhood in Chicago and how his time spent with friends and growing up watching John Hughes movies inspired how he is today. With collaboration being so important to him, it almost feels as though that '80s innocence of bike rides, tree climbing and scratched knees, and occasional shenanigans with friends has never really left him.
It's this optimism that shines through his personality and his work. We've mentioned how he feels about "play", which comes across in his illustration practice – but whilst he mostly pokes fun at the world around him, he simultaneously highlights important issues.
Here, he gives us a wonderful insight into studio life beyond New York City, the difficult balance of career and fatherhood, and the legacy he wants to leave for his son. And we discover why he might just make a short film with childhood friends, inspired by those seemingly simpler times.
Reflecting on 65 years of running a global design studio, with Tom Geismar
Our next guest is Tom Geismar, the acclaimed American graphic designer famous for creating some of the world's most recognisable and enduring brands.
Tom is a founding member of Chermayeff & Geismar & Haviv (formerly Brownjohn, Chermayeff & Geismar and Chermayeff & Geismar), the highly respected design firm in New York, which he began with friends Ivan Chermayeff and Robert Brownjohn in 1957. Together, they became renowned for their fresh and creative approach to companies such as Pan Am, Chase Bank, and PBS – which paved the way for the design industry we know today.
During his incredible career, Tom has created outstanding designs across print, packaging and environmental. There are many highlights, including his impactful work for Xerox, which created a new standard for design in corporate communications. There was also his special relationship with Mobil over 35 years and his unique take on exhibitions, bringing together many creative disciplines to create stand-out designs for The Statue of Liberty Museum, Ellis Island Museum, and many more. It's no wonder he's considered a pioneer in the field.
In this episode, we talk about those early days in New York City when a tremendous cultural shift was afoot, and the design industry was a completely different landscape back then. We hear of their first office: a tiny bedroom which featured a desk – an old door propped up on makeshift legs – of which Tom sat across from his then partner and mentor Brownjohn.
There's some insight into some of his favourite projects, and we learn of some of his regrets. How his practice has changed over the decades, and why they have kept their design firm deliberately small. We hear what he thinks of new technology like DALL-E and how he feels about graphic design today.
For someone described as a "sweetheart" by New York's design community, Tom is a brilliant mind that has won many awards and continues to enjoy being part of his practice today, even after 65 years in the business.
Rebelling against conformity in the creative industry, with Rebecca Harrison
Our next guest is Rebecca Harrison, a brand designer and creative director at global agency Loveblood Creative.
Today, Rebecca is based in The Lakes, where she grew up. It's a small village with close family and a tight-knit community. But quite typically, when someone has enjoyed a quieter life as a child, she wanted to experience a different adventure in a big city. And so she packed her bags in 2004 and moved to London, where she studied Fine Art at Central Saint Martins.
During university, Rebecca admits it was the first time she became aware of her accent and how different she felt compared to others. And deep down, there was this knawing feeling she couldn't shake, which she would later realise was homesickness. In fact, she spent a considerable amount of time and energy trying to feel more at home in London, but it wasn't quite cutting it. Her career, meanwhile, had taken a slight detour as creative jobs were hard to come by, and Rebecca instead found a job and "home" working as a funeral director in North London. It was an experience she believes was the most foundational and inspirational of her career.
During that time, she began freelancing on the side, working in graphic design and illustration. On the surface, all was well. But home was calling. She was about to return to the North when she met her now-partner James and moved to Brighton in 2010. That's where they stayed for the next eleven years, and it was where Rebecca cut her teeth at Brandwatch, moving from junior designer to Design Director.
Then the pandemic hit – a time that forced many of us to reassess our lives. And so Rebecca and James decided to move back to the Lakes, where she grew up. And that's where she's now happily based, working remotely as part of the team at Loveblood Creative. It's where I travelled north to meet Rebecca in a thriving art and community centre on the outskirts of Penrith.
In this episode, we talk about leaving home as a working-class woman and moving to London – how it impacts; the positives and downsides. We talk about the journey many of us embark on to find ourselves and what "home" really means. We discuss how we might become lost, forget our identity and try and be something else to "fit in" and get ahead in our careers. But Rebecca rejoices in the recent epiphany that she no longer needs to comply. She explains, "The creative industry, in many ways, told me that I needed to change to succeed. To be in a certain city or live a particular way of life. I realised how ridiculous these predefinitions are and what we are missing out on as an industry due to our own biases."
We discover why she's now choosing to challenge the status quo, shake up what it means to be a successful creative director and why she's instead embracing what's right for her, leaning into her culture and being proud of who she is and what she has to offer.
How to promote yourself when you want to stay private online, with Muiz
Our next guest is Muiz, an art director, artist and designer from Manchester who specialises in Arabic and Latin branding, editorial and type design.
Many of you will know why it's impossible to define precisely what you do. Job titles, after all, can be so limiting. It's why Muiz points out that he's a natural-born illustrator with an academic background in product design and fine art and also a qualified graphic designer working with clients as big as Arts Council England, Audi, and Bloomsbury. It's important for him to get this across, as so much of what we do influences our output.
Just as Muiz doesn't want to be defined by labels, he doesn't want to be put in any box because of his background or ethnicity. It's why he keeps a low profile online and has never shown his face on social media or the web.
Despite all this, Muiz has enjoyed a successful career, finding ways to network and get ahead via more traditional means. Straight after graduation, he spent 18 months working with two of the world's leading typographers – Bruno Maag and Erik Spiekermann, via Fontshop International. He tells us how that came about in this episode (and it's quite surprising).
He also reveals how he worked for the Palestine Festival of Literature for eight years. And we learn more about Rice & Gold, the creative studio he founded five years ago with his friend and illustrator Jonny Wan.
We also delve into the importance of identity and why you can be a success no matter where you're based. We cover the secrets of self-promotion without sharing your entire personal life on social media. Muiz also shares why real connections matter, as they're not "transactional", perhaps like a 'like' or retweet.
But mainly, we hear of Muiz finding himself, leaning into his strengths, and discovering that he – just like anyone else – has a real and valid voice that deserves to be heard.
Preserving graphic design history for everyone, with Louise Sandhaus
Our next guest is the acclaimed American graphic designer, author and scholar Louise Sandhaus. A professor at the California Institute of the Arts, she is also the principal of Louise Sandhaus Design, a studio she founded in 1998.
Born in Massachusetts, Louise began her career in the 1970s and has since seen new technology disrupt and change the creative industries in ways many of us can't imagine – from the birth of the Apple computer to the software tools we still use today.
Thanks to the Internet, Louise has recently launched the permanent home for The People's Graphic Design Archive to preserve graphic design history for future generations and act as a source of inspiration for creative professionals everywhere. She's one of its four co-founders – an online platform rooted in a passion for celebrating our industry's output and learning from our previous creations.
In this episode, we talk about new technology, how it transformed her career and why it's a force for good today. We discuss the rising tide of AI and its potential impact with tools like DALL-E. And we delve into Louise's path to success, the challenges she's faced, and the rewards she's enjoyed along the way.
We really understand why preserving graphic design is a real labour of love for Louise and why it's so important that we somewhat remove the "gatekeepers" to celebrate all kinds of work and champion the unsung creators whose voices are often not heard. As she so beautifully puts it, "everything and everyone is valued" when you have something that anyone can contribute to.
Building Koto's New York studio in a post-pandemic world, with Arthur Foliard
Our guest on the podcast this week is Arthur Foliard, a creative director originally from Paris who is currently based in New York City.
Arthur has travelled the world since he accepted an internship at Landor Associates in San Francisco over a decade ago. He later moved to London and worked for Pentagram before joining Moving Brands for a couple of years, rising from junior to senior designer. In 2016, Arthur tried his hand at freelancing for under a year but then was snapped up by the London design agency Koto – becoming its Design Director in 2017. He's still there today but has recently moved to the States to head up its new studio in New York.
Although Arthur predominantly works in graphic design, he is also renowned for his illustration work – often merging the two disciplines to deliver stunning identities for the likes of Backmarket, Meatable, and Yubo. His illustration work, meanwhile, is instantly recognisable – often spotted on walls and billboards across London.
In this episode, we talk about his adventures around the world. And what "home" means to him when he's not in Paris – how all these other places where he's lived differ from one another; their various cultures and ways of doing business. He also shares how he found himself in San Francisco straight after college. And how he coped with not being able to speak a word of English.
We delve into his time at Koto and what it's like to be head of its new office in New York, which isn't even a year old. There's a bit of juicy insight into the studio's culture, how they might follow London's example and how it looks after its people. And Arthur shares why he believes everyone should be together, collaborating and supporting one another in the same room.
It's a fun chat with someone who clearly isn't afraid of the future and doesn't dwell too much on the past – something many of us will find comforting during these rocky and uncertain times.
The art of rebellion and artistic freedom, with Katie Jones
This week's guest is Katie Jones, a graphic designer from Manchester. We met Katie at the Manchester School of Art, where she is currently an associate lecturer. It's a role she adores, as she spends a lot of time doing something she loves while helping the next generation of designers. She enjoys it so much that in 2019, she scooped an MMU Teaching Award for 'Outstanding Feedback', the first teaching award the Art School has ever won.
The School is where Katie studied her own art foundation and a degree in Graphic Design. During her course, she looked around at the other students and teachers and found a calling to create a magazine called Fresh – one that would shine a spotlight on diverse creatives. It's a side project that has since opened many doors, built skills and confidence, and introduced Katie to the wider creative industry.
In fact, Fresh made Katie realise just how important it is to build her own community. And so, she's since become part of SLAN Collective, a global network of artists and designers who all support one another. She's also become one of the people behind Ladies, Wine & Design in Manchester – the networking group for women. Aside from these valuable hustles, Katie also runs a vegan food truck with her family.
In this episode, we talk about the values and life lessons Katie inherited from her parents and two brothers. It's the way she holds herself, not conforming to any gender roles and why she has the strength and courage to pave her way – despite having that conversation with her mother, the one some of you know only too well.
We also hear about side projects and why they can be so fruitful. About rebellion and artistic freedom. Of listening to your gut and not being afraid to change or quit something if it isn't working. Katie also shares why she will not accept the status quo and doesn't want to be pigeonholed into one field or merely picked out for the colour of her skin. It's a warm and honest conversation with someone who reminds us to count our blessings and counter these difficult times through the currency of kindness.
Tackling mental health problems in graphic design, with Graham Jones
We kick off season five of The Creative Boom Podcast with a topic that is, thankfully, getting louder in the creative industries. And that's mental health. We've invited Manchester-based graphic designer Graham Jones as our first guest to guide us through.
Now, if you're one of those creatives who doesn't do any marketing or seek fame in this industry, then Graham's approach will appeal. He's stayed deliberately quiet, not seeking out interviews or press coverage. Instead, he's been focusing on navigating his way through a successful career spanning over two decades. And he's had the publicity without even trying, as his work speaks for itself. He's been published in dozens of respected books by Victionary and Counter-Print and celebrated in magazines such as Computer Arts and Grafik.
Graham runs the independent design studio Loose Collective and is a part-time senior lecturer at the Manchester School of Art. If there's one thing he's especially famous for in the North West, it's for being one of the nicest people in the industry. Graham knows everyone and is well-loved. He's a positive force for good in the design community and someone who, we discover, has fought many battles to overcome his own mental struggles.
In this episode, we chat about the obsession with fame and fortune in the design industry, why it's bad for mental health and why being famous shouldn't be the goal. Graham also gives us a reality check about the field overall – it's not glamorous, for the most part. It can be hard work, a real slog. You have to love the profession to do it.
We also discuss overcoming imposter syndrome and the little mind tricks we can play to be happier creatives. And Graham gives us lots more reassuring advice to navigate what can sometimes feel like a demanding career.
The Creative Boom Podcast Trailer (Season Five)
Want to hear the inside scoop from leading artists and designers? Understand what makes them thrive (not just survive) in a post-pandemic world, how they view emerging technology like generative AI, and where they think creativity is heading next? Or even hear of those seemingly small career moments that had enormous impacts?
The Creative Boom Podcast will answer many of these burning questions and satisfy your curiosity through candid conversations with some of the world's biggest creative names. Each episode promises invaluable insight and incredible stories to inspire creative professionals everywhere.
From visual artist and author, Oliver Jeffers, to American graphic designer Gail Anderson… 'King of Logos' Tom Geismar and the legendary Debbie Millman… Join me, Katy Cowan, as I chat with leading artists and designers from around the world, delving into their careers to discover the secret to their success, as well as hearing their thoughts on crucial topics that affect us all.
This show is part of Creative Boom, an online magazine launched nearly 14 years ago to celebrate, inspire and support the creative community, particularly the underrepresented. Today, we reach a million creative professionals each month and have proudly championed thousands of creatives since 2009.
To discover more, go to Creative Boom and be inspired by all the latest news, work, insight and advice from the creative industry. That's where you can also discover our entire podcast archive.
How being an outsider shapes a meaningful path, with Simon Wheatley
What does it feel like to be immersed in a scene documenting the rise of the UK's most important musical genre since punk? Simon Wheatley is an acclaimed photographer who did just that, capturing grime culture as it happened.
His subsequent book Don't Call Me Urban! The Time of Grime was released in 2010, offering a fascinating insight into that world through music portraiture, reportage and architectural imagery. It shot to the top of the book charts and was immediately hailed as a classic of British documentary photography. Since then, Simon has continued his work around the grime scene – also as a filmmaker – and he is currently editing for a more comprehensive book that will cover the genre's evolution up to the present day.
Amongst Simon's career highlights have been a spectacular spell with the Magnum agency – producing groundbreaking work from the French suburbs after the riots of 2005 – and being selected as the worldwide ambassador for the launch of Leica's legendary M-series camera in 2006. In 2018, he was invited to be the in-house photographer at London's Abbey Road Studios.
Over the past decade, Simon has divided his time between London and India, the land of his maternal ancestry, where he has continued his photography and studied yogic philosophy and music. He also carries out workshops worldwide and is developing a course of photography that seeks to combine physical, mental and spiritual development.
A self-proclaimed outsider, we wanted to know more about how his childhood, moving between the varying cultures of Singapore and England, and how that experience shaped him as a person. We asked what it was like to attend a Surrey boarding school where he didn't really fit in and what led him to documentary photography, finding a sense of belonging in London. There's a lot we cover. It's a humbling conversation with a gentle, curious soul that today embraces his many quirks and traits – something we can all aspire to.
Season Four of The Creative Boom Podcast is kindly sponsored by Astropad Studio.
Why honesty is better for everyone in the creative industries, with Alison Haigh
We speak to many people about how they got into graphic design. But we never expect anyone to admit that a dislike of their handwriting would set them off on this creative path. This was certainly the case for Alison Haigh. Realising computers were the answer to crafting neater typography, she fell in love with design. And today is Design Director at Accept & Proceed, a respected studio based in London that's behind identities for Dickies and campaigns for Nike.
Alison has had quite the journey to get here. After graduating from the University of Brighton in 2009 – at the height of the global economic crisis – she had internships at NB Studio, Small and various other agencies. It was typical of that era – jobs were scarce, and Alison did all she could to get onto the ladder. Her determination paid off as she landed her first role at Nelson Associates. She later joined Proud and spent three years building skills and experience there before securing a dream role at Wolff Olins as a senior designer. In 2018, she became part of the team at Design Studio, but two years later, she found her way back to a smaller agency via Accept and Proceed.
After spending 11 years in the creative industry, Alison realised there wasn't much support for the difficult "middle" – that part of our careers between graduation and the top of the ladder. So in 2019, she launched The Middle School to provide honest advice and practical skills to designers in the middle of their careers. By helping more people stay in the industry, realise their potential, and become better leaders, Alison hopes it'll be a small step towards tackling wider industry problems around diversity and mental health. In this episode, we talk about this and much more, including how she feels the industry is becoming more honest and vulnerable and why that's such a good thing.
The business of making money as a freelance illustrator, with Aysha Tengiz
It was the picture books from her childhood that inspired our next guest to become a freelance artist. The illustrated stories sparked a passion for drawing for Aysha Tengiz but were also what kept her sane growing up in Turkey, where her family had moved to be closer to her father's.
Now based in London, Aysha specialises in illustration, animation and textile design. Her work is playful, colourful, and often of everyday scenes full of charming characters like Fil, a lonely elephant who was also the star of her first picture book.
A graduate of Camberwell College of Arts, Aysha has worked in Illustration since breaking into the industry five years ago. Today she is represented by Closer & Closer in North America, and her clients include The New York Times, Facebook, and Stella McCartney. It's been a whirlwind of success. One she partly puts down to being part of a thriving London community.
In this episode, we talk about freelancing as an illustrator and why it can often be hard to find your place in the world and settle on a style that suits you and your personality. We talk a lot about money – a subject that we feel just isn't covered enough. And we understand more about what it takes to survive in an increasingly competitive field.
Working with Google to teach others about fonts, with Elliot Jay Stocks
Those of you who remember the glory days of web design, Web 2.0, Flash and ActionScript, when the FWA and Deviant Art were just getting started, and when everything felt new and exciting, almost like a Wild West of the Internet, then our next guest will make you smile.
Elliot Jay Stocks is a legend in the web design world. He began working as a junior designer for EMI Music, which he admits was a lucky break thanks to his portfolio, which had all the websites he'd designed and built for friends' bands while studying Contemporary Media Practice at university.
Some of you will remember Elliot's time spent at Carsonified – the website he designed for that agency went down in the web design hall of fame and today is still seen as a turning point for the industry.
With all that experience, Elliot has done a ton of talks around the world and written for magazines such as Computer Arts and Dot Net. In 2010, he launched a print magazine called 8 Faces, dedicated to type, typography and lettering. Later on, he joined Typekit as Creative Director, which has since become Adobe Fonts. Then, after getting married and becoming a father, he and his wife Samantha launched their own magazine on the elusive idea of work-life balance.
Today, he's working with Google on Fonts Knowledge, a library of original guides to the world of typography. Interestingly, he's been remote since 2013, working from his peaceful garden office near Bristol and where I was invited to sit down and chat about his journey so far.
Surrounded by many keyboards and instruments, showing a clear passion for making music on the side, we wanted to know if Elliot ever sits still and whether side projects and experiments have always been a focus. We wanted to ask how he feels about working for Google. And whether he's managed to achieve that ultimate goal that we all dream of – to balance life with work and be happy.
People before profit to build a different kind of design studio, with Max Ottignon
If you've been running a design studio for quite some time and with some success, does it feel like you've been doing so for many years? Or do you feel like you're only just getting started? This was the curious question we posed to Max Ottignon, a co-founder of Ragged Edge in London.
Launched nearly 15 years ago with friend Matt Bland, the pair wanted to create a branding agency for people who "care less about how things are, and more about how things could be". That is anyone with the conviction to challenge the status quo. It's a mission that's done them proud. Today, the studio is behind fresh identities for the likes of Papier, Mindful Chef, Laka and East London Liquor Company. It's won many awards. And there's a team of nearly 40 talented designers, strategy directors, 3D artists, digital specialists and writers – all of whom the studio calls 'change-makers'.
So what does this change mean in design? And what has Max learnt over 15 years of running a studio that wants to do things differently? What's it been like growing a team – from global economic crisis to global pandemic? And how does Ragged Edge stand out in an increasingly competitive industry? Does Max even feel like the studio is fully established now? Or is there still work to do? We sat down with Max to find out more.
A tall yet quiet character, there's a humbleness to Max and an eagerness to push forward, keep improving and build on their success. To do the right thing. And to create something that puts people before profit. Perhaps leave a legacy that's about meaningful change and making a difference, more than anything else.
How to fight for the creative career you want, with Boma Krijgsman
Boma Krijgsman is a cultural champion who is currently part of the team at JDO in London. As a brand ambassador and talent manager, she helps the creative agency raise its profile to attract clients and diverse talent.
A self-proclaimed 'hustle bunny', Boma began her career travelling the world, working incredibly hard and picking up skills and experience along the way. She spent two years in Vietnam as the PR and marketing manager for a large fashion retailer, which she admits was a "dream job" as she worked with brands such as Versace, Christian Louboutin, and Jimmy Choo. She then returned to the UK, where she launched her own business to specialise in project management. Today, she's settled in Kent and is the proud mother of three children, juggling parenthood with her role at JDO.
We wanted to learn more about her exciting adventures and how she found herself in her current role. From a dip into tourism and then modelling to discovering a passion for PR and marketing, there seems to be no limit to Boma's infectious energy and talents.
We talk about diversity and inclusion in the creative industry and why we still have a long way to go. And we share truths about confidence, motherhood and being a woman in design, and finding ourselves – realising our potential and embracing everything that comes our way.
Finding a place in Britain to grow an agency from scratch, with Gush Mundae
What was it like to move to the UK from Delhi in the 1970s, aged just five years old? For Gush Mundae, founder of creative agency Bulletproof, he felt that, as an immigrant, he was never "invited in", so he admits it was a real hustle from the beginning.
Hip-hop was just emerging in Britain, which he became obsessed with – along with all the associated culture, like graffiti art and sneakers. But Gush admits the street art "got him into a lot of trouble with the boys in blue and rival gangs" until his art teacher encouraged him to take that passion for art to explore graphic design and consider a respectable career in the creative industry.
So, in 1998, Gush took the plunge and founded Bulletproof using £2,000 of his personal savings. Today, his agency works with Cadbury, Football Association Wales and Soapsmith from studios in London, Amsterdam, New York, Sydney, Singapore and – most recently – Shanghai.
Describing Bulletproof as his "life's work", we were eager to learn more about what he's been through. The blood, sweat and tears. The big lessons and the bold moves. Join us for this fascinating, honest chat from one of the best names in the business – from racism and Brexit to hip hop, modern music and design; from overcoming childhood traumas and growing a global agency to adapting to the world today – Gush Mundae reveals all.
A closer look at a decade spent at Pentagram, with Marina Willer
Our guest this week is Marina Willer, an award-winning graphic designer and filmmaker and one of Pentagram's many respected partners. Before joining the global agency, she was head creative director for Wolff Olins in London.
With an MA in Graphic Design from the Royal College of Art, Marina has enjoyed an incredible career so far. She's led the design of major identities, including Rolls Royce, Oxfam, Nesta and Amnesty International. She recently rebranded Battersea and Sight and Sound Magazine. And as a multi-faceted designer, she has even designed major exhibitions for the Design Museum, including Ferrari: Under the Skin and Stanley Kubrick: The Exhibition. Both were the most-visited shows in the museum's history.
Elsewhere, Marina's first feature film, Red Trees, premiered at the 2017 Canne Film Festival and was released worldwide by Netflix in 2018 to much critical acclaim. She talks about it fondly in this episode and shares many other fascinating insights into her amazing creative journey.
We talk about her process and inspirations. We learn more about Pentagram and how she feels about the world right now. We discuss the idea of "home" and how it feels to be in London post-pandemic. And she shares the joy of realising that work continues to surprise her, even after it's been 20 years since she famously rebranded Tate.
Why you don't need an industry award to be a success, with Mat Voyce
Mat Voyce describes himself as a "non-award-winning" graphic and motion designer based in the UK – not only because he hasn't yet won any awards and wants to joke about it, but perhaps to prove a point that you don't need a trophy to be a success.
And a success Mat has truly been. Specialising in 2D type animation, Mat has become known for his pioneering style that explores illustrative kinetic typography. It's actually what made him famous, as he spent the pandemic creating simple yet positive type art on Instagram. He gained a huge following, which allowed him to raise his profile and network with the global creative community, leading to huge client wins such as Disney, Google, Nike and YouTube.
Spending so much time and effort on his Instagram account allowed Mat to flex his creative muscles and build on his skills. We wanted to chat with Mat about this rise to fame, his experience of Instagram overall and how when Covid-19 hit, he just got his head down and got on with his work. We talk of the treadmill of freelancing and how to find a good balance – even whether that's possible. We discuss looking after our mental health and the highs and lows of social media. And we hear more about creative copycats and how to cope with people who are a little too inspired by our own work.
There's a lot that Mat has generously shared here. So we hope this "friendly neighbourhood type animator", as he describes himself, brings you some warmth and wisdom this Monday morning.
How creative freelancers can avoid burnout, with Darnell Brown
Darnell Brown is a growth strategist and educator based in North Carolina. Originally a graphic designer, he now helps businesses to harness their superpowers, hack their time and impact lives through creative courses and consulting.
It's a career he carved out for himself after suffering the effects of burnout during his days of crafting logos and building brand identities. It was 2008, at the peak of the global economic crisis when he decided to make the change from full-time employment to freelancing, spotting an opportunity to hire himself when no one else would.
Almost fourteen years later, Darnell has helped hundreds of clients to thrive and continues to apply everything he's learnt so far – from his days as a kid in the '90s, hustling and making money from his comic book drawings, to his time helping tech startups to raise millions in funding.
We wanted to hear more about Darnell's path to success. And discover all the things he's learnt along the way. Believe me, his passion for business and creativity will spark a spring in your step today.
Design snobbery and why we're all experts in type, with Sarah Hyndman
For episode 74, our guest is Sarah Hyndman, a graphic designer and researcher and the person behind Type Tasting – a practice that's on a mission to change the way we think and talk about typography by making it fun and exciting for everyone.
Sarah specialises in making typography entertaining and relevant with humour, a dash of theatre and lashings of audience participation. And she is also the author of various books on type, including the bestselling book Why Fonts Matter and the title, How to Draw Type and Influence People.
Through her practice, she gets us to think about type in ways we never thought possible. Whether she's doing a TED X talk, TV interview, radio show or installation at the V&A – she takes typography way beyond the world of graphic design. Chef Heston Blu-men-thal even calls on Sarah as his "font science" expert.
I wanted to pick Sarah's brains on all things type. On how typography has changed since she first discovered it as a child, looking at chocolate and sweet wrappers in her local corner shop. We hear her thoughts on trends and the overall design industry about type snobbery and why we're all experts. And we delve into the subconscious and how we feel about various typefaces. Even whether they have the power to change the world, shape our behaviour and influence pop culture.


text:
The Herreshoff 12½ Footer is a one-design keelboat.

History

Nathanael Greene Herreshoff designed the 12½ footer in 1914. It has been in continuous production since then, and is nearly universally acclaimed as one of the finest small boats of all time  He was 66 years old by then, and had all the experience from a full and legendary career of designing and building yachts. He had already accumulated 5 of the never-matched record of 6 consecutive America's Cup defenses, and 6 consecutive victories.

The Herreshoff Manufacturing Company took the first orders for the 12½ footer in 1914 and built 364 wooden hulls through 1943. Following the closing of HMC production, the Quincy Adams Yacht Yard was licensed by HMC to build the design. Quincy Adams used the Herreshoff builder's plate, and built 51 hulls from 1943 through 1948. The Quincy Adams boats had hull numbers in the 2000s, and were planked with mahogany rather than the white cedar used by HMC. They also have something of a reverse sheer forward.

In 1947, Cape Cod Shipbuilding acquired the rights to the design. They built about 35 wooden hulls between 1948 and 1950, when they switched to fiberglass.

Another company, Doughdish, Inc. is building a fiberglass version of the 12½. Since Cape Cod's rights prohibit anyone else from using the trademarked named "Herreshoff 12½", the boat is called Doughdish. The molds were created by taking the lines from three original wooden hulls. Bill Harding, the creator of the Doughdish, took great pains to ensure his boat was an exact replica of the original, even eschewing the weight reductions afforded by fiberglass construction to ensure the Doughdish is authentic in every way (other than building material). In fact, the Doughdish is allowed to compete against the original wooden boats in association regattas, while the Cape Cod Shipbuilding 12½ is not. Finally, since 2006 the Herreshoff 12½ is once again available in wood from Artisan Boatworks of Rockport, ME.

The design was developed into the Bull's Eye, also first built in 1914 and the Buzzards Bay 14, designed in 1940.

Current builders of Herreshoff 12½ Footers

References

External links
The H Class Association

Herreshoff Museums and Archives
The Herreshoff Marine Museum / America's Cup Hall of Fame
The Herreshoff Legacy: An MIT Museum Project
The Herreshoff Registry

Keelboats
1910s sailboat type designs
Sailboat type designs by Nathanael Greene Herreshoff
Sailboat types built by Cape Cod Shipbuilding

redpajama_set_name: RedPajamaWikipedia


text:
Q: Angularjs: Transfer data from  to lists In angular, how would I change this selection to a list while maintaining the same functionality and data?
<select ng-if="main.fbWriteup.data"
          name="selectGroup"
          class="form-control"
          ng-model="main.selectedGroup"
          ng-options="key as key for (key,group) in main.fbWriteup.data"
          ng-change="main.selectedMessage=-1">
  </select>

here is my full code: http://codepen.io/Zancrash/pen/KVYdqP/
You can add a group and the groups added are displayed within the dropdown menu. But I want all of them to be shown as a list item instead.

A: OK, I think I know what you're looking for.
I've created a new demo fiddle because your code is hard to read.
Just use ng-repeat to loop over your list of groups and add ng-click for selecting the group.
Please have a look at the demo below or in this fiddle.

angular.module('demoApp', [])
 .controller('mainController', MainController);

function MainController($scope) {
 var vm = this,
    defaultEntries = [{
       id: 0,
       name: 'group1'
      },{
       id: 1,
       name: 'group2'
    }];
 angular.extend(vm, {
   groups: defaultEntries,
    selectedGroup: defaultEntries[0],
    addGroup: function() {
      var newGroupName = prompt('enter group name'),
        newItem = {id: vm.groups.length+1, name: newGroupName}
      vm.groups.push(newItem);
      vm.selectedGroup = newItem; // select new item
   }
  });
}

<button ng-click="ctrl.addGroup()">
Add Group
</button>

<select ng-model="ctrl.selectedGroup" ng-options="group as group.name for group in ctrl.groups"></select>
group selected: {{ctrl.selectedGroup}}

Group list

{{group.name}}

redpajama_set_name: RedPajamaStackExchange


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Fish House Falls into Ice
According to the Todd County Sheriff's Office, a fish house fell part-way through the ice last Thursday. The fish house was located on Long Lake, located in Burnhamville Township. It belongs to Daniel Fruechte of Swanville. The rear-end of the 16' manufactured house broke through approximately 9 inches of ice, while the front remained suspended on the ice. The house had been on the lake for about 2 days before the incident. The owner says he will allow the ice to thicken around the fish house before removing it.
Hecker Divorce Granted
Former auto mogul Denny Hecker and his wife Tamitha will be traveling different roads in the future. A Hennepin County Judge has granted a divorce that will close the trunk on a 15 year marriage.
Terms of the separation have not yet been determined. Tamitha is said to be asking for $15 million and sole custody of the children, ages 8 and 14.
Hecker closed or sold 26 auto dealerships and filed for bankruptcy in June, including two in Brainerd.
Crosby-Ironton 64, Aitkin 29
Menahga 83, Park Rapids 58
Pine City 62, Isle 51
Red Lake 75, Cass Lake-Bena 72
Walker-Hackensack-Akeley 56, LaPorte 39
Browerville 70, Parkers Prairie 54
Eagle Valley 69, Verndale 55
Cass Lake-Bena 54, Blackduck 52
Holy Family Catholic 60, Motgomery-Lonsdale 21
Northland 87, Hill City 58
Little Falls 3, Sauk Rapids-Rice 2 (OT)
Northern Lakes 4, Moose Lake Area 1
Park Rapids/Menahga/Nevis 5, Wadena-Deer Creek 1
Park Rapids Area 5, LPGE/WDC 1
Brainerd/Pillager 37, Rocori 27
Pierz 54, Long Prairie-Grey Eagle 24
Royalton/Upsala 59, Ogilvie 18
Crow Wing Shows Traffic Death Improvement
Crow Wing County is off the top 13 deadliest counties in the state for DWI fatalities. State Patrol Sergent Curt Mowers says the county is now at number 22. Half the fatalaties involving alcohol also involve motorists not wearing seat belts. He says that number is even higher during night-time hours.
Mowers says the State Patrol and local law enforcement is involved in the December mobilization now. He says they want to stay out of the top 13 dealiest counties by concentrating on DWI drivers and seat belt violations.
The state-wide traffic fatality rate is down to 389, compared to 419 last year.
More Transportation $ for Minnesota Roads
Minnesota Congressman James Oberstar and Wisconsin Congressman David Obey combined forces to pass a $500-million Minnesota Jobs Bill in the house. The money would be used to fund Minnesota Road road projects and transportation systems.
Obey, chairman of the House Appropriations Committee, sponsored the 75 billion dollar Jobs for Main Street Act. Congressman Oberstar, who chairs the Transportation Committee says he made sure that half of the bill will go towards transportation infrastructure projects.
The bill now goes the U.S. Senate, where it is expected to be taken up early next year.
A Stand-Off Today in Park Rapids
(AP) Two men are in jail, and another in the hospital, following a police stand-off in Park Rapids today. Police Officers were called to an apartment building after reports of a hostage and guns. Shots were heard, and a 47-year-old man left the apartment. He had a non-life threatening gunshot wound to his leg, and was taken to a hospital. Two men, who are brothers--ages 31 and 39, held of SWAT Officers for about 4 hours until police used tear gas to take them into custody. The suspects are being held in the Hubbard County Jail.
Nisswa Woman Wins Keller Award
Erin Herman has been awarded the Helen Keller award by Lions Clubs International in recognition of her commitment to the Sight First project which is trying to eradicate blindness and our hearing aid project which eases pain and suffering and brings healing and hope to people worldwide. Past President Ted Schaefer was on hand to present the award.
Herman is a member of the Nisswa Lions Club. She has been a Lion for many years, and has participated in various club projects including Crazy Days Corn Feed, Pork-on-a-Stick, and our annual Mississippi Belle boat excursion. Erin Herman is a Past President of the Nisswa Lions.
The Nisswa Lions Club has 84 members and meets on 2nd and 4th Monday of each month at 6:00 PM at the Nisswa Community Center. Lions clubs are a group of men and women who identify needs within the community and work together to fulfill those needs. For more information or to get involved with the Nisswa Lions Club, please contact Ted Dullum at 963-2452 or visit our internet site nisswalions.com.
MP&L Gets Rate Hike
(AP) Minnesota Power customers can expect to see their bills go up in 2010. The Minnesota Public Utilities Commission granted a $48.5 million hike. Minnesota Power had requested a $73 million bump.
Residential customers of MP&L can expect to see their electric bill rise an average of $7 a month next year.
A company spokesperson says the rate hike is needed due to the utilities investment in infrastructure and green technology.
H1N1 Clinic Tuesday
The Crow Wing County Community Health Division will hold an H1N1 swine flu vaccination clinic at Central Lakes College for everyone 6 months and older, and children 9 years and under in need of their 2nd dose, Tuesday Dec. 22.
The clinic will be held from 10 a.m. to 12 p.m. and 3:30 p.m. to 6:30 p.m. in the gymnasium at CLC.
Tiwari Appointed VP at CLC
Dr. Suresh Tiwari, after six months in an interim capacity, has been appointed vice president of academic and student affairs at Central Lakes College, Brainerd and Staples.
Dr. Tiwari had been a dean at the largest technical college in South Carolina and former dean at Hawkeye Community College in Iowa prior to taking the interim post at CLC last spring.
Barnum 66, Aitkin 56
Cass Lake-Bena 79, Pine River-Backus 37
Crosby-Ironton 75, Park Rapids 34
Detroit Lakes 76, Pequot Lakes 62
Henning 65, Verndale 41
Isle 66, McGregor 54
Little Falls 62, Alexandria 47
Nevis 62, Blackduck 50
St. Cloud Tech 61, Brainerd 48
Staples-Motley 83, Wadena-Deer Creek 59
Bertha-Hewitt 60, Wadena-Deer Creek 40
East Grand Forks 65, Park Rapids 32
Pine River-Backus 66, Verndale 35
Walker-Hackensack-Akeley 69, Cass Lake-Bena 54
Brainerd/Pierz/Pillager 4, St. Cloud Tech 2
Detroit Lakes/Perham 5, Park Rapids/Menahga/Nevis 4 (OT)
Monticello/Annandale/Maple Lakes 4, Northern Lakes 1
Sartell 3, Little Falls 2
Morris/Benson 11, LPGE/WDC 0
Park Rapids 2, Detroit Lakes/ Perham 1
Community Notification Meeting for a Predatory Offender Release coming up next Tuesday
According to Crow Wing County Sheriff Todd Dahl, the release of a Level 3 Predatory Offender into rural Crow Wing County is scheduled for later this month. A Community Notification Meeting is set for next Tuesday, December 22nd at 6:30 pm at the Living Word Church located on Highway 371 North, Brainerd. The meeting is open to the public, and will discuss the release of 49-year old Brooks Fisher, who will be released from the Department of Corrections on Sunday, December 27th. Fisher will be living in a residence located on the 19,000 block of Soder Road, Brainerd--which is approximately 5 miles north of Baxter off Highway 371 North in Crow Wing County.
January Could Be Mild
September and November were warm. October and December have been cold. The pattern would suggest January will be warm. K-Lakes Meteorologist Tony Schumacher says that may be the case. He says there is a so-called North Atlantic Oscillation that is over-riding the warming El Nino effect.
Schumach expects that oscillation to change in January bringing us another mild month.
Give Tiger a Break
The public needs to step back, and give Tiger Woods a chance to heal his family life, so says W Granville Brown, Certified Life Coach and author of the book "Choices."
Brown told KLKS News, he was surprised about Woods fall from grace, because of the wholesome image he has enjoyed, even when living the single life. Brown says we ought not be so quick to judge. Few have been in the position of rejecting the temptations of super models.
Brown says the mark of an individual's character is not determined when things are easy, but rather when things get difficult.
Klobuchar urges Iran to Release Minnesotan
Minnesota Senator Amy Klobuchar is urging Iranian authorities to release three young Americans who were captured by the Iranian military last summer. Among them was former Minnesotan Shane Bauer. Iranian officials say they will be tried by Iran's judiciary system.
Senator Klobuchar says the three young Americans made a simple mistake by straying across the border from Iraq into Iran. She says any formal charges against them are unwarranted and unreasonable.
The three Americans were on a hiking trip in Northern Iraq when they reportedly crossed into Iran in late July. Since then, Shane Bauer, Sarah Shourd and John Fattal have been held in near isolation in a Tehran prison and have been allowed no contact with their families in the United States.
Brainerd Salvation Army Halfway to Goal
The Brainerd Salvation Army says there is still time to get that "ring a ding feeling." With two weeks remaining until Christmas, volunteer bell ringing shifts still remain open.
Several hundred volunteer hours still need to be filled for this week, and especially for next week. Major Jeff Strickler, Corps Officer of the Brainerd Lakes Salvation Army says it will be hard to achieve the Christmas kettle goal without additional volunteers to ring bells.
Brainerd Lakes Salvation Army is just over halfway to their Christmas Kettle goal of $103,000. They still need to raise $49,000 by Christmas Eve, or $4,084 a day for the next 12 days.
Sign up to bell ring by calling (218) 829-1120. Shifts can last as little as an hour.
Donations can also be made by mailing a check to The Salvation Army, P.O. Box 385, Brainerd, MN 56401.
Brainerd Man Dies in Cottonwood Accident
(AP) A Brainerd man was among two who were killed in a head-on collision south of Cottwood Monday morning. The have been identified as 53-year-old James Moses and 42-year-old Henry Castro of Cottonwood.
The State Patrol says Mose's Chevy was southbound in the northbound lane when the vehicles collided. The Patrol says alcohol may have contributed to the crash.
Floodwood 70, Northland 56
McGregor 65, Isle 63 (OT)
Staples-Motley 55, Frazee 25
Minnesota Senators Leary of Medicare Expansion
Minnesota Senators Amy Klobuchar and Al Franken have sent a letter to Majority Leader Harry Reid outlining their concerns regarding plans to expand Medicare to Americans between the ages of 55-64. The Minnesota DFL-ers say any expansion must include ways of eliminating inequities in current Medicare reimbursement rates. The say such an expansion could exacerbate existing provider shortages in states that have low reimbursement rates.
Senator Klobuchar says states with more efficient health care systems are punished with reimbursement rates that lag significantly behind the rates of other states.
The two are urging Majority Leader Reid to hold on any expansion unless steps are taken to provide incentives for providers to see more Medicare patients.


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Christmas Movies Month: The Bells of St. Mary's
The Bells of St. Mary's (1945)
I'll happily argue that Gremlins, L. A. Confidential, Lethal Weapon, and The Apartment are more Christmassy films than The Bells of St. Mary's. The former films quite explicitly take place at Christmas time, while The Bells of St. Mary's happens to have a scene where a Chrsitmas play is rehearsed. That scene is in the middle of the film, a story that takes place over an entire school year. Nevertheless, the film is in the rotation of Christmas films, and it has a place on top Christmas film lists. A version of the film's theme (the St. Mary's school song) can be found on Christmas albums. When George Bailey runs through the streets of Bedford Falls on Christmas Eve in It's a Wonderful Life, we can see that The Bells of St. Mary's is playing at the local movie theater, because the title's up on the marquee.
PR w/o clerical collar or habit
So I figure all this is good enough to give the film a place in Movie Churches' Christmas films, and it certainly has a church and clergy -- and a little bit of Christmas.
The film is a sequel to Bing Crosby's hit, Going My Way, which won an Oscar for Best Picture. In The Bells of St. Mary's, Bing again plays Father O'Malley, the good natured priest, this time going to serve in a parochial school run by nuns led by Sister Superior, Mary Benedict (Ingrid Bergman). The film follows a school year, and in the midst of that school year, there is a rehearsal for a Christmas play.
There is a shot of St. Mary's covered in snow and we see Father O'Malley playing "Come All Ye Faithful" on the piano as he sings in Latin, surrounded by a group of students. Sister Mary Benedict comes in and complains that the noise is interrupting the kindergarten's rehearsal for the Christmas program.
Bing offers to play for the Christmas program, saying, "You can't have a Christmas play without 'O Holy Night' or 'Adeste Fideles'." But Sister Mary Benedict tells him the kids have the program covered.
She takes him to see what Bobby and other kindergarteners are doing. The very small Mary and Joseph go from place to place asking for lodging. Each time, they're asked, "Do you have any money?"
They say, "No" and are sent away until someone finally offers the stable.
Sister Benedict says, "Bobby made the play up. It's a little not good."
Finally, the "baby" (a two year old) is "born," and the children sing "Happy Birthday to You."
Father O'Malley says, "Their simplicity is beautiful; I wouldn't change a word of it."
Sister Benedict says, "But they will. They do it different every time."
I should note that the Christmas story presented in church Christmas plays and Christmas cards is off. We always see Mary and Joseph traveling to Bethlehem alone, but people in that day usually travelled in groups. All of Joseph's family were required to report to Bethlehem for the census, so they probably traveled with family, not alone. The little kids in the movie take things a litttle further from the true story when the innkeepers reject Mary and Joseph because they have no money -- that's not in Scripture. (Perhaps it's a juvenile attack on capitalism.) But their play is darn cute.
But we need to remember that the purpose of Movie Churches is to examine ministries in films, so how they do Father O'Malley and Sister Benedict do? Let's just say some of the practices at the school are...problematic.
One of the odd things about their work with the kids shows ups when we see Father O'Malley taking a special interest in one of the girls in the school, and Sister Benedict is a special supporter of one of the boys.
When two school boys fight, Father O'Malley expresses his admiration for the boy who beats up a kid named Tommy, saying, "That boy knows how to handle himself." Tommy had been trying to practice the teachings of Jesus (turning the other cheek) that he's learned from Sister Benedict. When she sees that her instruction led to Tommy beaten up, she decides to teach him to fight. She gets a book by boxer Gene Tunney and schools Tommy in the pugilistic arts -- because obviously that guy Jesus didn't know what he was talking about in the Sermon on the Mount.
Father O'Malley takes an interest in a thirteen-year old girl named Patsy. Patsy's parents have been separated since the girl was two (but not divorced, because that wouldn't be the Catholic thing to do). When O'Malley is asked about the girl's situation, he tries to fudge over the facts for fear the girl won't be admitted. But she is. She comes to O'Malley for help with her school work, which he provides by teaching her songs.
When Patsy fails the test for eighth grade graduation (intentionally, we later learn), Father O'Malley encourages Sister Benedict to overlook the test scores. The Sister insists the school must maintain standards, but Father O'Malley seems to believe kids should be graduated without regard to their academic performance. He seems to think this is the compassionate thing to do, but I'm not convinced it's a good idea to move kids through the system whether they've learned or not.
The main plot of the film, as with many movies about churches made in this period, is about finances and real estate. St. Mary's is supposedly in ill repair and could be condemned at any time, though the viewer is shown no evidence of this. Sister Benedict is covetous of the new office building next door to the school built by Horace P. Bogardus (Henry Travers). Obviously, he is greedy for wanting to keep the building he made for his business instead of giving it to the Church for the school's use.
Sister Benedict makes it her prayer project that Horace will give the building to them. She doesn't talk about praying for Horace's salvation or for him to be blessed, but that he'd give her the building.
When Father O'Malley talks with Horace's doctor, he mentions the sister's prayers for the building. The doctor says, "Does she really believe Bogardus will give her the building? I haven't encountered such a thing since I was a little boy and wished for something for Christmas."
O'Malley does some finangling, asking the doctor to urge his patient to give away the building because it will be "good for his heart."
Horace, does, of course, give his building to St. Mary's because it's "for the kids." (There is never any discussion in these films about how businesses provide work for parents who need jobs to care for their children.)
The clergy in the film don't talk about the Bible much, though Father O'Malley does at one time quote "The epistle of St. Peter, 'Be sober and watchful'... or was it St. Paul?"
At the end of the film, there is a health crisis causing Father O'Malley to struggle to decide if honesty is the best policy. Sister Benedict must deal with her own issue of bitterness, and their problems are resolved in a godly manner.
So in the Spirit of Christmas (even though there isn't much Christmas in the film), I give the pastor and the nuns of The Bells of St. Mary's Three Steeples.
Posted by churchandstates at 7:22 AM
Labels: Academy Awards, Bing Crosby, Christmas movies, Ingrid Bergman
trejea January 3, 2021 at 1:42 PM
The lies and deceit are appalling! Horace only gives away his building for the good it will do him—and this because of manipultion by the clergy!
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