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Germany Institutional Investors/Consultants Change site
UK Investors Should Prepare for Negative Interest Rates
January 2021 / INVESTMENT INSIGHTS
The role of gilts in portfolios could be impacted
Tomasz Wieladek, T. Rowe Price Chief European Economist
Michael Walsh, Solutions Strategist
Niklas Jeschke, Solutions Strategist
Implied policy rates show that the markets do not expect the Bank of England to adopt negative rates as a policy tool.
We believe the markets are wrong, however, and that UK investors need to prepare for negative interest rates.
The Bank of England is already consulting with financial institutions about practical, legal and operational implementation.
Negative interest rates are likely coming to the UK, but you would not know that judging from the markets. Although rates are widely expected to fall, implied policy rates show that the markets do not expect the Bank of England (BoE) to adopt negative rates as a policy tool over the next few years. We believe the markets are wrong, however, and that UK investors need to prepare for the prospect of negative interest rates.
The coronavirus has hit the UK economy hard: Once the effects of the second lockdown are factored in, economic growth is on course for the largest annual decline since the Great Frost of 1709. The transition to any new trade agreement with the EU will be disruptive, particularly in the early part of 2021. The UK government has acted to support the economy, but at the cost of a 20% budget deficit—an all‑time high in peacetime.
Historically, UK governments have begun to consolidate large deficits soon after the event. Indeed, the UK Office of Budget Responsibility is predicting a structural tightening of 11.5% of gross domestic product (GDP) in 2021–2022. These substantial headwinds will require monetary policy to continue supporting the recovery for a long time, even after a mass COVID‑19 vaccination programme has been completed.
Why Negative Rates Are on the Horizon
Four key reasons
Why Might the Bank of England Resort to Negative Rates?
The economic slowdown caused by the pandemic has substantially increased the amount of spare capacity in the UK economy. This spare capacity, known as the output gap, is currently 10% of GDP. Reducing output gaps is a key goal of economic policy—in response to the 6% gap that followed the 2008 global financial crisis, the BoE cut interest rates by 5.25%, bought GBP 375 billion of government debt via quantitative easing (QE) and made it easier for people to get credit via the Funding for Lending Scheme.
This time, the BoE has relied heavily on QE to support the economy and currently owns 44% of the eligible universe of gilt securities. While this is below its self‑imposed limit of 70%, by comparison, the Bank of Japan found that it had to resort to yield curve control when it reached ownership of close to 50% of Japanese government bonds as distortions started to appear in the market. The scope for further QE, therefore, appears to be limited.
In response to the coronavirus, the BoE introduced the Term Funded Scheme with additional incentives for SMEs (TFSME) to help ease bank credit conditions and thereby stimulate economic activity. However, recent months have shown increased rates for high loan‑to‑value retail mortgages, reflecting strong continued demand from borrowers and expectations of increased defaults in the near term. Given the desire to encourage prudent bank lending following the global financial crisis, additional intervention by the BoE to reduce these mortgage rates appears unlikely.
Which brings us to negative policy interest rates. The BoE is already consulting with financial institutions about practical, legal and operational (e.g., IT) implementation. Negative policy rates would be expected to reduce lending rates for business, consumers and the government and stimulate the economy through a lower value for sterling in foreign exchange markets. An important behavioural channel is that a negative policy rate, even if it is not passed on to them directly through negative interest rates on deposit accounts, will remind households to consume some of the large savings they accumulated during the lockdowns in 2020.
Negative Rates Are Not a New Phenomenon
(Fig. 1) Euribor has been below zero since 2015
As of 30 November 2020.
Source: Bloomberg Finance L.P.
Zero Is Not a Lower Bound for Sovereign Yields
(Fig. 2) German, French and Swiss debt are in negative territory
Past performance is not a reliable indicator of future performance. For illustrative purposes only.
What Can We Expect? Look to Other Countries as a Guide
Negative policy interest rates were first deployed by Switzerland in the 1970s and have found favour again in recent years. Central banks in Denmark, Switzerland, Sweden, Japan and the eurozone have moved rates below zero to support economic recoveries or manage key exchange rates. The experiences of these countries have shown that such policies can help stimulate the economy through a combination of weaker exchange rates and cheaper debt.
Financial markets have generally reacted quickly to the new reality of negative rates without any problems. Measures of borrowing rates such as the Euro Interbank Offered Rate (Euribor), widely used in derivative contracts such as interest rate swaps, have now been below zero for years without creating issues in the functioning and valuation of such instruments.
Similarly, markets for government debt have reacted to the policy signals provided by central banks. Yields on government bonds from major issuers such as Germany are now negative at all maturities—showing that zero is not a lower bound for medium‑ and longer‑term yields.
Implementation—A Possible Pathway for Negative Rates
In the near term, the risk of further pandemic‑related restrictions and disruption from a transition to new trade arrangements with the EU may provide significant downside growth surprises in early 2021, which could prompt the BoE to implement this policy. However, an emerging consensus among central bankers is that it is best to implement negative interest rates when the financial system is not under stress. As the effects of transitioning to a new EU trade arrangement at year‑end on the UK's financial system are unclear, the earliest implementation of negative rates would be mid‑2021.
The key potential upside for the economy in 2021 is a rapid rollout of an effective COVID‑19 vaccine. Even if a successful mass vaccination scheme leads to a rapid recovery, growth weakness from the pace of fiscal tightening and a slow global recovery means that we believe negative rates at some point in the coming years are a likely outcome.
The Markets Do Not Expect Negative Rates in the UK
(Fig. 3) Implied policy rates still hover north of zero
Policy rates are implied based on overnight GBP reference rates. For illustrative purposes only.
The duration of a negative interest rate policy depends on the speed of economic improvement. For example, the European Central Bank entered its negative rate regime in 2014, but weak growth left rate rises looking unpalatable even before the current pandemic. But recent history shows the UK could be different: The policy mix UK authorities adopted from 2009 showed that monetary policy can mitigate tight fiscal policy and generate inflation back towards the BoE's target of 2%. We believe that a recovering UK economy would allow an eventual exit from the policy, albeit after several years.
Why the Markets Are Not Pricing In Negative Policy Rates
At the time of writing, markets are not expecting negative policy interest rates for the next three years. Although policy rates are expected to fall over 2021 and 2022, the markets do not seem to expect the UK to adopt a negative interest rate policy. This is probably because moving into a negative rate regime is a major step and, given the myriad uncertainties around global growth, vaccination progress and Brexit disruption, it is difficult for markets to assess the probability of such a change with confidence. This means that markets will probably only react when there is more clarity on some of these key risks or when the BoE's likely policy approach becomes clearer.
If the BoE moved short‑term interest rates into negative territory, it would likely extend the rally in medium‑ and long‑dated gilts. Experience shows that negative rates can be difficult to exit once implemented, indicating they could be around for a while. Furthermore, a negative rate on banks' reserves at the BoE will lead to a search for yield to limit the impact on profits—hence greater demand for positive‑yielding gilts.
Next Steps for UK Investors
In foreign exchange markets, negative interest rates would reduce sterling's current yield advantage over the euro in particular, likely resulting in the two currencies moving closer to parity. While lower rates of sterling have tended to boost UK equities given companies' high level of overseas exposure, we believe that equity market sentiment is more likely to be driven by wider global developments and the pace of pandemic recovery.
Preparing for Negative Rates—Actions for UK Investors to Consider
We would not expect negative policy rates to disorder gilt, cash or derivative markets. A bigger concern for investors is whether the introduction of negative interest rates would cause shorter‑ and longer‑term gilt yields to fall. Based on the experience of other countries, we believe this indeed is likely to occur. It would also increase the likelihood of negative nominal gilt yields, particularly at shorter maturities. Such a fall would, in the absence of a decrease in inflation expectations, also lead to real yields falling further.
When building investment portfolios, gilts and other high‑quality government bonds play important roles for many investors. One of these roles is to generate income. Clearly, gilt yields at or even below zero will not be positive news for investors looking to construct lower‑risk income portfolios. Income‑seekers may need to opt for riskier sources of income, rather than gilts.
Holdings gilts is also important to add resilience to portfolios—in particular, cushioning losses from more economically exposed, risky assets elsewhere in the portfolio. Government bonds or high‑quality corporate bonds have often acted as a shock absorber in times of market volatility as investors seek safety. For UK investors, the comfort that the UK government stands behind such instruments, as well as the lack of overseas currency exposure, mean they are effectively the most conservative building block for multi‑asset portfolios. Gilt yields at zero or below would reduce the cushion that such holdings would offer in bouts of market turbulence.
While short‑term rates may be set below zero by the BoE, we do not expect gilt yields to fall far into negative territory. No major central bank has yet set rates below ‑0.75% as the negative knock‑on impacts would be likely to outweigh policy objectives around these levels. This effectively creates a 'floor' for the government bond yield curve. It is instrumental to compare the falls in French, German and Japanese bond yields over the market turmoil in February and March 2020 with those of other, higher yielding government bonds that are often seen as safe‑havens.
Lower-Yielding Government Bonds Offered Less Protection in Early 2020
(Fig. 4) No major central bank has set rates below -0.75%
Past performance is not a reliable indicator of future performance.
Yields on generic 10‑year government bonds for each market. For illustrative purposes only.
In an environment where the BoE had also engaged in a negative rates regime, we believe the amount of diversification and risk mitigation that gilts would bring to multi‑asset portfolios would be limited. This should lead investors to consider whether identifying other ways for diversification would be required.
Options could include moving into other low‑risk but higher‑yielding assets such as global government bonds with their currency hedged to sterling; adding exposure to safe‑haven currencies such as the Japanese yen, Swiss franc and US dollar and considering other diversifying strategies such as gold or approaches more reliant on investment manager skill. A combination of a number of these approaches could be a way to 'diversify the diversifiers'. Another possible approach would be to increase the allocation to less risky assets at the expense of riskier ones. Over the long term, however, this is likely to result in a fall in overall portfolio returns.
A move to negative interest rates would also impact investors who use short‑term cash holdings for capital protection or as a temporary holding for funds awaiting investment. Again, looking to euro markets as an example, the returns on short‑dated money market funds have now generally been negative for several years. This means investors must either increase risk in order to generate a positive return or accept a capital loss over the life of such holdings.
December 2020 / INVESTMENT INSIGHTS
Investing in EM corporate bonds for income and diversification
January 2021 / MARKET OUTLOOK
Euro High Yield: The Opportunity Today
Tomasz Wieladek
T. Rowe Price Chief European Economist
Tomasz Wieladek is the chief European economist in the Fixed Income Division in London. Tomasz is a vice president of T. Rowe Price Group, Inc.
See all article(s) by Tomasz Wieladek...
December 2020 / MARKET OUTLOOK
Global Asset Allocation: December Insights
Discover the latest global market themes
By Yoram Lustig
Yoram Lustig Head of Multi-Asset Solutions, EMEA & Latam
The Eurozone's Recovery Will Take a Break This Winter
The Eurozone's Recovery Will Take a Break...
The currency union faces four possible growth scenarios
By Tomasz Wieladek
Tomasz Wieladek T. Rowe Price Chief European Economist


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At some point you probably went through the painstaking process of loading all your tunes onto the computer. Well, now you're stuck with a stack of CDs and don't know what to do with them. The new music exchange service La La, enables CD trading for just $1.49, allowing several people to use each CD, keeping discs in circulation instead of going on the landfills or cluttering up your valuable closet space.
Once you become a member, the service encourages you to list all the CDs you want to exchange as well as ones they would be interested in receiving. Once an exchange is arranged, the recipient pays $1.49, of which 63 cents pays for shipping the disc. Netflix-style shipping kits (prepaid standard envelops) will arrive in the mail after you list your first CD at the site.
Twenty cents of each dollar you pay goes either directly to the artist. Or, if the artist no longer holds a copyright (think Beethoven,) those 20 cents go into a charitable fund to provide health insurance for musicians. The site is Inspired by a Wikipedia style information model. Fans and artists jointly decide whether a musician who applies for compensation will get paid under the system. This model has the potential to transform music-industry economics, giving musicians a major cut of the proceeds while largely freezing out record labels and other intermediaries. Whatever remains after shipping and those 20 cents goes to running the company.
Legal in Canada, but is this Legal in the USA?
I think there are connections between this article and the comments to an earlier article that discussed the idea of "Copying and destroying original". In this case you are making a copy and not destroying the original.
In Canada you are allowed to make a private copy of recorded music, and not retain the original, due to our "Private Copying" regime. It only applies to private copies (IE: they can't be shared/loaned/etc), and only to recorded music (not movies, television, software, books, etc).
In the USA you are able to make "fair use" of a work you have purchased which is widely interpreted to include device/format shifting (encoding your CDs onto your hard disk). As soon as the original leaves the home, though, I don't think the copy on the hard disk can be claimed to be a device/format shift but will be interpreted as an infringing copy.
The next interesting question will be the liability of the music exchange service "La La". I believe the recent Grokster case might be telling as this is a service that would be advertising an infringing use of their service, and thus would likely be found liable for facilitating infringement. The issue isn't technological in nature (Grokster was), but the question of the liability of a company providing a service that encouraged customers to infringe copyright.
I expect to get some feedback of people who disagree with my interpretation. I hope we can all separate what we believe the law should be compared to what the law is. I'm a strong supporter of voluntary collective licensing for music, movies and television, and thus none of these issues would apply any more.
"As soon as the original leaves the home, though, I don't think the copy on the hard disk can be claimed to be a device/format shift but will be interpreted as an infringing copy."
If you go for a jog with your iPod, the copy is still private even if the device leaves the walls of your residence. Besides, what does it really mean to talk about the PHYSICAL location of data? It's kind of an absurd concept really. The isssue is if you have exclusive access to the content or not... so we don't have see people with laptops getting busted at Starbucks.
"it only applies to private copies (IE: they can't be shared/loaned/etc), and only to recorded music (not movies, television, software, books, etc)"
This makes no sense. You're legally allowed to copy the library's cd's, but NOT their Dvd's? Honestly! Likewise, you're not legally allowed to use a PVR to let you watch cable programming at a time of your convenience?
What this company should do is simply follow the Zip.ca model except for music. In this way, you are paying to borrow the discs, while at the same time they are not promoting it being copied while at the same time still fascilitating people to do so.
Have you spoken to your MP this week?
"If you go for a jog with your iPod, the copy is still private even if the device leaves the walls of your residence."
This is not the original you are referring to, but is an example of format/space/time shifting. If you sell your original, then any copies you made are no longer shifts (which may not be legal in Canada anyway) but private copies. The private copying regime only applies to recorded music, not DVDs, television, movies, etc.
"This makes no sense. You're legally allowed to copy the library's cd's, but NOT their Dvd's? Honestly! Likewise, you're not legally allowed to use a PVR to let you watch cable programming at a time of your convenience?"
Whether it makes sense or not doesn't matter : It is what the current copyright act says under the Private Copying regime. If you disagree with it (And IMHO you should), then write your MP. I often find it frustrating that people are comfortable being armchair politicians within comment in BLOGS such as this one, but won't turn that into action by taking the same discussion to their MPs offices. The MPs are in their constituencies for the summer, and this is the perfect time to ensure that you meet with your MP and let them know what you think.
If you really want to start with an upsetting concept, reference the Section 92 report from the government which lists "clarifying and simplifying the Act" as the last bullet on the lowest priority for the government (In other words: they could care less). The fact that it is impossible to actually obey the Canadian Copyright Act given its complexity and self-contradictory nature doesn't seem to bother the government at all. If it bothers you, then make sure your MPs, your friends and all your neighbours know about it.
I have ripped and transfered most of my music on to my (DAW)computer. It was CD's and Records.
Anyone that is wise will keep the origanals so that if the worst happens hard disk failer etc. At least you have not lost anything. Music wise as for data backups I hope you do that to.


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The Jam! Another one of those bands that I'm sure you know, even if you don't think you do. Have a listen and I swear you will.
I am running out of wind a little with MoFo now, though am on the final stretch. Just one week to go! It has been really fun, but also really time consuming, as you can all understand. I have posted every day this year, which I hope I can carry through the last week. Ahhhhhhhh. I'm sure there will be a collective sigh of relief at the end of the month, combined with the disappointment of no longer having a never-ending supply of wacky themed recipes and delicious posts. Until next year!
Anyway, I'm jumping the gun a little. Let's get back to the food.
Pretty straight to the point recipe here – jam. Lately I have noticed a lot of talk about chia jam. I watched with amazement as Veganopoulous and Johanna at Green Gourmet Giraffe whipped up batches of the stuff. As soon as I realised just how simple it was, I was in. And I'm so glad I was! This is so easy and delicious, and isn't overpoweringly sweet. The chia seeds remind me of raspberry seeds, just like in my Granny's homemade jam.
Place strawberries, raspberries, apple, lemon juice and agave nectar in a pot and heat over medium-low heat. The apple can be chopped or grated, depending on whether you like chunks in your jam or prefer it smoother. As we are not using kilos of sugar like you do in normal jam, you may not wish to add the lemon juice. I like the tartness, however if your fruit is not very sweet it might be too much. If you need to add more agave to sweeten your fruit to your liking, do so.
Allow fruit to cook down slowly – it can be helpful to put a lid on for the first while to steam it a little. As it cooks, use a fork to mash it up a bit. Once it has broken down a bit, scrape the vanilla bean out of the pod and add it to the pot, throwing the empty bean in there too. Continue to cook until the fruit has pretty much all broken down.
Turn off the heat and stir in chia seeds. Allow to sit for ten minutes until the chias expand. If you would like the jam thicker, add more chias.
How funny – your comments were in my spam, which is strange! I've removed them so hopefully it doesn't happen again!
This jam looks perfect. The colour, texture and flavours look really appealing. I've really enjoyed your MoFo posts, so creative.
Aw thanks Rosie! I was surprised by how good this was – I really like the slight tartness rather than overpowering sweetness.
oooh love the apples in that!
I had always wanted to make jam with apples, I think it worked really well!
I've been looking forward to a possible The Jam post!
Yay, glad I could deliver!
I haven't tried Chia Jam yet – but I am also intrigued! I love the idea of combining strawberries apples and raspberries. Mmm. I think last week was the hardest MoFo week for me… but now that there's "only" a week left, and the end is in sight, I feel a bit reinvigorated. Like you, I am also posting every day and it really does take some time!
It's really good – you should definitely give it a go! Yes, I'm finding it so time consuming and although I've had a blast I think I will be kicking back and relaxing next week. But you're right, the final countdown gives a little extra oomph. Five days to go!


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How Much Do Veternarians Make?
Veterinarians are registered physicians who are knowledgeable about the diagnosis of animal health conditions. To become an animal physician, it is important that you complete a degree in veterinary medicine. It is also necessary that you pass a national licensure examination. The salaries receive by the physicians depend on how long they have been in practice. In addition, their salaries also depend on employment type. To know more about the income of animal physicians, let us look at their average annual salary based on tenure and experience.
Average Annual Pay by Years
How much do veterinarians make? Animal physicians who have been working for less than a year have an average annual pay of $59,727 while those who have been practicing their professions for one year to four years have an average yearly salary of $64,558. Veterinarians who have been in practice for five years to nine years earn $70,071 a year while physicians who have been working for 10 years to 19 years make $74,468 a year. Finally, those who have been practicing the profession for at least 20 years make $80,981 a year.
Average Annual Pay Based on Employment Type
Animal physicians who work at private firms have an average annual pay of $66,501 while those who work at nonprofit organizations earn $67,245 a year. Self-employed veterinarians make $74,943 a year. Those who are employed at local and state governments have an average annual salary of $70,210 and animal physicians who are employed by the national government make $79,094 a year. Animal doctors who work for trusts and foundations have an average annual pay of $70,000. Lastly, physicians who are employed at colleges and universities receive an average annual pay of $76,025.
Additional Information and Other Important Details
The responsibilities and duties of veterinarians include the provision of quality healthcare for livestock, sporting animals, zoo animals, laboratory animals as well as pets. The requirements for becoming a registered or licensed animal physician vary from one country to another. In some countries, animal physicians should be enrolled in internship programs before they get the license to practice their professions while in other countries they can work instantly as soon as they pass the national licensure examination in veterinary medicine.
Some of the daily tasks of animal physicians are vaccinating pets against distemper and rabies, diagnosing animal diseases as well as providing medicines to pets that are suffering from illnesses and infections. The other responsibilities of these physicians are performing surgery when needed and giving advice to pet owners concerning animal behavior and proper animal feeding. Above all, veterinarians are allowed to perform euthanasia in animals if necessary.
How Much Does Gamestop Pay Employees?
How Much Money Do FBI Agents Make?
How Much Does a Crime Scene Investigator Make?
How Much Does a Zoologist Make?

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Tales From Wonderland: Mad Hatter #2 (of 2)
Tales From Wonderland: Mad Hatter
Drake Liddle was a sick man forced into a world where madness reigns supreme as he eventually accepted his fate and took on the persona of the 'Mad Hatter' but who was the one that wore the hat before him? Who was the man that donned the skins and created the madness to begin with? The original Hatter will be revealed and the madness can never be stopped!
Joe Brusha Raven Gregory Ralph Tedesco
EricJ Vic Drujiniu
Horror Supernatural/Occult Mature
Tales from Wonderland
Return to Wonderland has returned in this first one-shot issue revealing the mysterious origin of Wonderland's self imposed ruler, the Queen of Hearts. When two young twin girls are pulled into another dimension their purity will not be enough to save them. Lost, scared and unable to escape, the girls must find ways to adapt as they eventually realize that being raised by madness itself isn't all
Escape From Wonderland
The beginning of the end is here. The final piece to the Wonderland trilogy brings the powerful story of Calie Liddle full circle. Her infant daughter was taken from her arms and brought into the realm of madness. Now Calie must re-enter the one place she has tried for so long to escape. The moment of truth has arrived as the girl who became a woman now sets out to become a hero. The one person wh
Beyond Wonderland
Months have passed since Calie Liddle returned from the realm of madness, months since Wonderland took everything from her. Now jaded and bitter, Calie is attempting to lead a more normal existence across the country in New York City. With a different name and a new identity, Calie is just beginning to adjust to another life. But not every story has a happy ending as she soon realizes that things
Wonderland: Through the Looking Glass
The series that every wonderland fan has been waiting for is here! Of all the evil and sinister beings who have occupied the terrifying realm of Wonderland none have instilled fear in all they meet as much as one particular hat wearing villain. The boy turned man who nearly ended the world as we know it is back. The most diabolical villain in the history of wonderland returns. The story of Joh
Wonderland: Down the Rabbit Hole
Returning to the beginning of it all, this series fills in the blanks and tells the other story of what happened to Alice and her family on Calie's first trip into Wonderland. Struggling with a now shattered psyche, Alice must prevent the evil beings that inhabit that realm of madness from slipping into this world and infecting everyone she holds dear. But that's easier said than done as


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O Partenon ou Partenão (em grego antigo: Παρθενών, transl Parthenōn; em grego moderno Παρθενώνας, transl. Parthenónas) foi um templo dedicado à deusa grega Atena, construído no  na Acrópole de Atenas, na Grécia Antiga, por iniciativa de Péricles, governante da cidade, projetado pelos arquitetos Calícrates e Ictinos e decorado em sua maior parte pela oficina do escultor Fídias, que também executou a estátua criselefantina (feita de marfim e ouro) da deusa patrona da cidade, Atena Partenos, presente no interior do templo naquela época.

O Partenon é o mais conhecido dos edifícios remanescentes da Grécia Antiga e foi ornado com o melhor da arquitetura grega. Suas esculturas decorativas são consideradas um dos pontos altos da arte grega. O Partenon é um símbolo duradouro da Grécia e da democracia, e é visto como um dos maiores monumentos culturais da história da humanidade. O nome Partenon deriva da estátua de Atena Partenos.

O Partenon e outros edifícios da Acrópole são um dos mais visitados sítios arqueológicos da Grécia. O Ministério da Cultura e Turismo grego atualmente leva adiante um programa de restauração e reconstrução para assegurar a estabilidade da estrutura.

Etimologia
O nome Partenon se originou da palavra grega "παρθενών" (parthenon), que significa "quarto de mulher solteira" numa casa e no caso do Partenon parecia referir-se, inicialmente, a somente a uma das salas em particular no templo; discute-se qual sala era e como a sala adquiriu tal denominação. A obra de Liddell-Scott-Jones, Greek-English Lexicon afirma que esta sala era a cela ocidental do templo. Jamauri D. Green assegura que o partenon era a sala na qual o peplo presenteado à deusa Atena no Festival Panatenaico era tecido pelas arrephoroi, grupo de quatro moças escolhidas para servir Atena a cada ano.

Christopher Pelling afirma que a Atena Partenos um culto dedicado a Atena, porém discreto, intimamente conectado, mas não idêntico, ao de Atena Polias ("Atena da cidade"). De acordo com esta teoria, o nome Partenon significa "o templo da deusa virgem" e refere-se ao culto de Atena Partenos que era associado ao templo.  O epíteto parthénos (παρθένος) não tem origem clara  podendo significar "donzela, menina", mas também "virgem, mulher solteira" e era especialmente usado em relação a Artemis, a deusa dos animais selvagens, da caça e vegetação, e para Atena, a deusa da estratégia e da tática, artesanato e artes, e da razão prática. É também sugerido que o nome do templo alude às donzelas (parthenoi), cujo sacríficio garantia a segurança da cidade de Atenas.

A primeira citação na qual Parthenon refere-se, sem nenhuma dúvida, ao edifício inteiro, é encontrada no orador Demóstenes, no . Nas prestações de contas do templo, no , a estrutura é simplesmente chamada ho naos ("o templo"). Diz-se que os arquitetos Mnésicles e Calícrates chamaram o templo de Hekatompodos ("cem metros de cada lado") em seu tratado perdido sobre arquitetura ateniense  e, no  e mais tarde, o edifício era chamado de Hekatompedos ou o Hekatompedon tanto quanto Parthenon; no , o escritor romano Plutarco referiu-se ao templo como o Hekatompedon Parthenon. Devido ao fato do templo ter sido dedicado à deusa grega Atena, às vezes foi chamado de "Templo de Minerva", o nome romano para Atena, particularmente chamado assim durante o .

História

Antiguidade

O Partenon foi construído para substituir o antigo templo destruído por uma invasão dos persas em  A iniciativa de sua  construção foi de Péricles, estratego (líder político) ateniense do , e a sua construção foi supervisionada por Fídias, encarregado também das esculturas decorativas. Os arquitetos foram Ictinos e Calícrates e a construção começou em  e estava substancialmente pronta em , mas a decoração continuou até . Algumas das prestações de conta sobreviveram até nós e mostram que a maior despesa foi transportar a pedra do Monte Pentélico, a cerca de 16 quilômetros de Atenas. Os fundos, cerca de  talentos, uma fortuna colossal para a época, eram também da Liga de Delos, cujos tesouros foram transferidos do pan-helênico Santuário de Delos para a acrópole em .

Embora o próximo Templo de Hefesto seja o mais completo sobrevivente da ordem dórica, o Partenon é visto como o mais refinado. Segundo J.J.Norwich, "...usufruía a reputação de ser o mais perfeito templo dórico jamais construído. Mesmo na antiguidade, seu refinamento arquitetônico era legendário, especialmente a sutil correspondência entre a curvatura da estilóbata, o estreitamento da nave e os entalhes das colunas".

Como muitos templos gregos, servia como tesouraria, onde se guardavam as reservas de moeda e metais preciosos da cidade e também da Liga de Delos, que se tornaria mais tarde o império ateniense. O Partenon sobreviveu como local dedicado a Atena por cerca de mil anos. Certamente estava intacto no , quando já era tão velho quanto a Catedral de Notre Dame  é hoje, e mais velho que a Basílica de São Pedro em Roma. Mas naquele tempo, Atenas estava reduzida a uma cidade provinciana do Império Romano, ainda que com um glorioso passado.

Igreja cristã e mesquita

O Partenon foi convertido em igreja cristã nos tempos do Império Bizantino, dedicado ao culto da Virgem Maria (Parthena Maria) e Mãe de Deus (Teótoco). Na conversão do templo em igreja, foram retiradas as colunas internas e algumas paredes da cela. Foi também criada uma abside no lado leste, o que levou à remoção de algumas esculturas. Esses deuses depostos eram ou reinterpretados de acordo com um tema cristão ou destruídos.

Em algum momento do , a grande imagem de Atena foi levada para Constantinopla, onde mais tarde foi destruída, provavelmente durante o saque da cidade promovido pela Quarta Cruzada em 1204.

Em 1456, Atenas foi tomada pelo Império Otomano e o Partenon foi novamente convertido, desta vez em mesquita. Os otomanos não destruíram as antiguidades de Atenas, porém, não realizaram nenhum projeto de proteção e ainda usaram o templo, durante a guerra, como fortificação. Um minarete foi adicionado e sua base e escadas ainda estão lá, e o edifício não foi danificado.

Destruição e decadência

O Partenon sofreu seu maior dano em 1687, quando os venezianos, liderados por Francesco Morosini, atacaram Atenas e os otomanos usaram a edificação como paiol de pólvora. No dia 26 de setembro, um canhão veneziano, disparando da colina de Filopapo, acertou no paiol e o edifício foi parcialmente destruído. A estrutura interna foi demolida, o telhado caiu e algumas colunas, particularmente do lado sul, foram decapitadas. As esculturas sofreram pesados danos. Muitos pedaços do piso se soltaram, e mais tarde tornaram-se souvenirs.

Depois disso o edifício foi abandonado. Nos anos finais do  muitos europeus visitavam Atenas e uma ampla iconografia das pitorescas ruínas foi acumulada, ajudando a fomentar a simpatia pela causa da independência da Grécia na França e na Inglaterra. Em 1801, o embaixador britânico em Constantinopla, Lord Elgin, obteve uma permissão do sultão para fazer desenhos e moldes das antiguidades da Acrópole, demolir construções recentes se necessário para ver as antiguidades, e para remover esculturas de lá. Ele tomou isso como autorização para coletar todas as esculturas que achasse. Empregou trabalhadores locais para retirá-las das paredes do edifício, recolheu algumas do chão e comprou algumas peças pequenas da população. Hoje estas esculturas estão no Museu Britânico, conhecidas como os Mármores de Elgin. Outras esculturas estão no Louvre em Paris ou em Copenhaga. Muitas das que restaram em Atenas estão no Museu da Acrópole, construído sob o solo alguns metros a sudoeste do edifício. Uns poucos ainda resistem no Partenon

Recuperação

Quando a Grécia conseguiu sua independência em 1832, a seção visível do minarete otomano e todas as construções medievais foram removidas da Acrópole. O governo grego faz campanha pela devolução das esculturas, mas o Museu Britânico nem sequer considera essa possibilidade, embora sucessivos governantes britânicos tenham tentado mudar a legislação que impede a devolução, sem sucesso até ao momento.

Em 1975, o governo grego começou uma série de esforços para restaurar o Partenon e outras estruturas da acrópole. O projeto mais tarde atraiu recursos e apoio técnico da União Europeia. Uma comissão de arqueólogos documentou exaustivamente todo artefato restante no local e arquitetos com modelos tridimensionais assistidos por computador localizam sua posição original. Em alguns casos a reconstrução foi considerada incorreta. Esculturas importantes e frágeis são transferidas para o museu. Uma grua, projetada para se esconder quando fora de uso, foi instalada para mover blocos de mármore. Reconstruções incorretas foram desfeitas e um cuidadoso processo de restauração começou.

O Partenon não será devolvido a um estado pré explosão de 1687, mas os danos serão mitigados o máximo possível, e mármore novo do local original está sendo usado para preencher vazios e fazer reparos necessários na estrutura. Ultimamente, as maiores peças já foram repostas na estrutura, suportadas, se necessário por materiais modernos.

Desde os anos 1960, os grandes inimigos do Partenon tem sido ambientais. Atenas cresceu muito depois da Segunda Guerra Mundial e tem problemas com trafego de veículos e poluição do ar. Corrosão do mármore pela chuva ácida causada pela poluição já causaram danos irreparáveis a algumas esculturas remanescentes e ao próprio templo. Nos últimos anos, o governo grego e o da cidade de Atenas fizeram algum progresso, mas o futuro ainda é incerto. Hoje atrai milhões de turistas todo ano, que caminham pelo pátio no lado oeste através do Propileus restaurado, pelo caminho Panatenaico acima até o Partenon, que está cercado por uma cerca baixa, para prevenir danos.

Em 2022, a Itália vai devolver um fragmento de mármore pertencente ao friso oriental do Pártenon, que representa o pé de uma deusa, Peitho ou Artemis, a espreitar por baixo de uma túnica elaborada, é até 2022 exibido no Museu Arqueológico Regional Antonio Salinas em Palermo, na Sicília. Foi originalmente comprado pela Universidade de Palermo à viúva de Robert Fagan, cônsul britânico da Sicília e de Malta, após a sua morte em 1816.

Cronologia

447-432 a.C. — Construção do Partenon no governo de Péricles e decoração com esculturas de Fídias
 267 — Bárbaros hérulos invadem Atenas e incendeiam a edificação
 343-361 — Recuperação do templo, provavelmente sob ordens do imperador romano Juliano Apóstata
  — A grande estátua de Atena é levada para Constantinopla e, mais tarde, destruída
  — Conversão em igreja Ortodoxa Grega. Monges retiram colunas internas, destroem esculturas consideradas pagãs e criam uma capela na fachada leste
 1204 — Os cruzados invadem Atenas e rebatizam o Partenon como "Notre-Dame de Atenas", tornando-o um templo católico
 1456 — Atenas é tomada pelo Império Otomano e o templo transforma-se em mesquita islâmica. Um minarete é colocado em sua base
 1687 — Os venezianos atacam Atenas. O Partenon é usado pelos turcos como depósito de pólvora e, em 26 de setembro, é atingido por uma bala de canhão que demole sua estrutura interna
 1801 — O embaixador britânico em Constantinopla, Lord Elgin, obtém permissão para fazer estudos na Acrópole e leva esculturas do templo para a Inglaterra
 1832 — Independência da Grécia — desde então os gregos trabalham na conservação do templo
 1835 — Início das escavações arqueológicas e do trabalho de recuperação das ruínas do Partenon
 2004 — Finalizados os trabalhos de restauro dos pronau (salão leste: onde ficava a principal estátua, de Atena, em ouro e marfim, feita por Fídias) e opistonau (salão oeste: espaço reservado à guarda do tesouro da Liga de Delos), além da limpeza e conservação do friso da fachada oeste

Características

Função

Embora o Partenon seja arquitetonicamente um templo e normalmente é chamado assim, não o é realmente no sentido convencional da palavra. Um pequeno santuário foi escavado no interior do edifício, no local de um santuário mais antigo provavelmente dedicado a Atena, como uma maneira de chegar mais perto da deusa,  mas o Parthenon não acolheu o culto de Atena Polias, padroeira de Atenas: o ídolo, que foi banhado no mar e para o qual foi oferecido o peplos (espécie de túnica feminina usada na Grécia Antiga), foi um xoanon (espécie de escultura de madeira usada na Grécia Antiga) de oliveira, localizado em um altar mais velho no lado norte da Acrópole.

A estátua colossal de Atena feita por Fídias não estava ligada a nenhum culto e não é conhecida por ter inspirado qualquer fervor religioso.  Não parecia ter qualquer nome de sacerdotisa, altar ou culto. De acordo com Tucídides, Péricles certa vez se referiu à estátua como uma reserva de ouro, salientando que "continha quarenta talentos de ouro puro e era tudo removível". O estadista ateniense indica assim que o metal, obtido a partir de cunhagem contemporânea, poderia ser utilizado novamente sem qualquer impiedade. O Partenon deve, então, ser visto como um grande cenário para a estátua votiva de Fídias em vez de um local de culto. Diz-se em muitos escritos dos gregos que havia muitos tesouros guardados no interior do templo, como espadas persas e pequenas estátuas figurativas feitas de metais preciosos.

A arqueóloga Joan Breton Connelly recentemente defendeu a coerência do programa escultural do Partenon em apresentar uma sucessão de narrativas genealógicas que rastreiam a identidade ateniense através das eras: desde o nascimento de Atena, por meio de batalhas cósmicas e épicas, até o grande evento final da Idade de Bronze ateniense, a guerra de Erecteu e Eumolpo. Ela indica uma função pedagógica para a decoração esculpida do Partenon, que estabelece e perpetua o mito de fundação, a memória, os valores e a identidade ateniense. Enquanto alguns clássicos, incluindo Mary Beard, Peter Green, e Garry Wills tem duvidado ou rejeitado a tese de Connelly, um número crescente de historiadores, arqueólogos e estudiosos clássicos apoia seu trabalho. Eles incluem: J. J. Pollitt, Brunilde Ridgway, Nigel Spivey, Caroline Alexander, A.E. Stallings, Rebecca Goldstein, Freeman Dyson, William St Clair, Donald Kagan, Gregory Nagy, and Angelos Chaniotis.

Arquitetura

O templo foi construído na ordem dórica, considerado o representante máximo desse estilo. O Partenon é um templo dórico períptero e octostilico com alguns elementos da ordem jônica. Ergue-se sobre uma plataforma ou estilóbata de três degraus. Como outros templos gregos, possui frontão e lintel sustentados por colunas (períptero) suportando um entablamento. Oito colunas na fachada da frente e oito na fachada dos fundos, e dezessete em cada lado. Há uma fileira dupla de colunas em cada extremidade. A colunata rodeia uma estrutura interna de alvenaria, a cela, que está dividida em dois compartimentos. Em cada extremidade do edifício a empena termina com um frontão triangular originalmente preenchido com esculturas. As colunas são da ordem dórica, com capitéis simples, eixos estriados e sem bases. Acima da arquitrave do entablamento está um friso de painéis esculpidos, as (métopes), separadas por triglifos, típicos da ordem dórica. Em torno da cela e através das vergas das colunas internas corre um friso contínuo esculpido em baixo relevo. Este elemento da arquitetura é jônico em grande estilo, ao invés de dórico.

Medidas pelo topo dos degraus, as medidas da base do Partenon são 69.5 x 30.9 metros. A "cela" tem 29,8 x 19,2 metros, com duas fileiras de colunas internamente, para suportar o telhado. No exterior, as colunas dóricas tem 1,8 x 10,4 metros. As colunas do canto são ligeiramente maiores no diâmetro. Se prolongássemos a direção das colunas, veríamos que elas se encontrariam num ponto congruente a cerca de mil e seiscentos metros de altura da base, não sendo aprumadas como parecem. Especula-se que as dimensões do edifício expressem a razão dourada, proposta por Pitágoras no século anterior. Está cercado por uma colunata (peristilo) em octoestilo dórico, com oito colunas frontais em vez de seis como era costume na época, e dezessete de cada lado perfazendo um total de 46 colunas, se diminuirmos as comuns entre as fachadas e as laterais.

A riqueza da decoração do templo é única para um clássico templo grego, mas está de acordo com a sua utilização como tesouraria, no opisthodomus (salão oeste na parte de trás da cela) espaço reservado à guarda do tesouro da Liga de Delos.

Decoração escultural

A estátua de Atena Partenos

O Partenon, um templo dórico com elementos arquitetônicos jônicos, abrigou a colossal estátua de Atena Pártenos do escultor Fídias, consagrada entre 439 e  As descrições falam de uma estátua criselefantina (ouro e marfim) de doze metros de altura, composta por uma estrutura interna de madeira revestida por placas de ouro e marfim, material um tanto frágil. Não sobreviveu até nossa época.

Métopes

As métopes dóricas na colunata exterior e o friso jônico na parede exterior superior da cela foram completados em  As noventa e duas métopes foram executadas em baixo-relevo, prática até então usada somente em metais preciosos (templos usavam manter estátuas votivas dos deuses) e seu desenho é atribuído ao escultor Cálamis. As do lado leste descrevem a Gigantomaquia (a luta entre os deuses do Olimpo contra os Gigantes ou Titãs) e as do lado oeste a Amazonomaquia (a mítica batalha dos atenienses contra as amazonas). As métopes do lado sul mostram a Centauromaquia Tessaliana (a batalha entre os lápios, ajudados por Teseu contra os centauros, meio homens, meio cavalos) — com exceção de uma parte perdida. No lado norte, a decoração está muito danificada, mas parecem se referir ao saque de Troia.

Frisos e frontões

Estilisticamente, as métopes apresentam traços do estilo Severo na anatomia da cabeça das figuras, na limitação do movimento corporal e na presença de veias acentuadas nas figuras dos centauros. Várias permanecem no Partenon, mas com exceção das do lado norte, estão muito danificadas. Algumas estão no museu da Acrópole, grande parte no Museu Britânico e outras no Museu do Louvre. O mais característico na arquitetura e decoração do templo é a existência de um friso jônico ao longo das paredes exteriores da cela.

Esculpida em baixo-relevo, descreve uma idealizada versão de uma procissão panatenaica do Portão Dipilônico em Carameico até a Acrópole. Nesta procissão, realizada a cada quatro anos, atenienses e convidados participavam oferecendo sacrifícios e novas roupas (peplos, feitos por jovens nobres atenienses chamadas ergastinas) em honra da deusa Atena. O friso foi feito no próprio local e está datado de

Pausânias, o viajante do , que visitou a Acrópole e viu o Partenon, descreveu os frontões. O frontão do lado leste representa o nascimento de Atena saída da cabeça de Zeus, enquanto o do oeste apresenta a disputa entre ela e Poseidon pela cidade de Atenas. Esses trabalhos datam de

Ver também
 Acrópole de Atenas
 Arquitetura da Grécia Antiga
 Classicismo Despojado
 Erecteion
 Mármores de Elgin
 Partenon (Nashville)

Bibliografia

 Beard, Mary. The Parthenon. Harvard University: 2003. ISBN 067401085X.
 B. Holtzmann, L'Acropole d'Athènes, Monuments, cultes et histoire du sanctuaire d'Athèna Polias, Picard, Paris, 2003 (ISBN 2708406876).
 François Queyrel, Le Parthénon, Un monument dans l'Histoire, Bartillat, Paris, 2008 (ISBN 978284100-435-5).
 História Viva, Duetto Editorial (Ediouro, Segmento-Duetto Editorial Ltda), Revista nº 45, pp. 26 e 27
 J. Baelen, Chronique du Parthénon. Guide historique de l'Acropole, Belles Lettres, 1956 (ISBN 2251332006).
 King, Dorothy "The Elgin Marbles" Hutchinson / Random House, January 2006. ISBN 0091800137.
 Woodford, Susan. The Parthenon. Cambridge University: 1981. ISBN 0521226295.

Ligações externas

Acrópole de Atenas
Projeto de restauração

Atena
Templos de Atenas
Acrópole de Atenas
Péricles (estadista grego)
Templos não cristãos convertidos em igrejas
Ruínas da Grécia

redpajama_set_name: RedPajamaWikipedia


For the purposes of organization, we've divided the Strip into three sections. The South Strip can be roughly defined as the portion of the Strip south of Harmon Avenue, including the MGM Grand, Mandalay Bay, the Park MGM, New York–New York, Luxor, CityCenter, and many more hotels and casinos. First-timers should consider staying here or in the Mid-Strip area simply because this is where the bulk of the stuff you're going to want to see, do, and eat are located.
The Mid-Strip is a long stretch of the Las Vegas Boulevard South between Harmon Avenue and Spring Mountain Road, which includes such big-name casinos as Planet Hollywood, the Cosmopolitan of Las Vegas, Bellagio, Caesars, the Mirage, Treasure Island, Bally's, Paris Las Vegas, Flamingo Las Vegas, Harrah's, and more. As mentioned above, this is a great area for newbies, and it's also the preferred location for people with mobility issues since fewer steps will get you to more places.
The North Strip stretches north from Spring Mountain Road all the way to the Stratosphere and includes SLS, Wynn/Encore, Stratosphere, and Circus Circus, to name a few. Although there are certainly things to see along this chunk of the Strip, development has mostly stalled, so you'll see more things closed or partially constructed in this area than you will open and completed. With the exception of Wynn/Encore and SLS, it is the lower-rent part of the Strip, with all of the good and bad that comes along with it.
Also known as "Glitter Gulch" (narrower streets make the neon seem brighter), Downtown Las Vegas, which is centered on Fremont Street, between Main and 9th streets, was the first section of the city to develop hotels and casinos. With the exception of the Golden Nugget, which looks like it belongs in Monte Carlo, this area has traditionally been more casual than the Strip. But between the Fremont Street Experience, the Fremont East Entertainment District, and a general resurgence, Downtown offers a more affordable yet still entertaining alternative to the Strip.
The area between the Strip and Downtown is a seedy stretch dotted with tacky wedding chapels, bail-bond operations, pawnshops, and cheap motels. However, the area known as the 18b Arts District (roughly north and south of Charleston Blvd. to the west of Las Vegas Blvd. S.) is making a name for itself as an artists' colony. Studios, galleries, antique stores, bars, small cafes, and the fun First Friday Las Vegas festival can be found in the vicinity. Eventually it may warrant its own neighborhood designation, but for now we include it in the Downtown category.
With land directly on the Strip at a premium, it isn't surprising that a veritable cottage industry of casinos, hotels, restaurants, nightclubs, attractions, and services have taken up residence in the areas immediately surrounding the big megaresorts. Within a mile in any given direction you'll find major hotels such as the Rio, the Orleans, the Westgate Las Vegas Resort (formerly the Las Vegas Hilton), and the Hard Rock, and newcomer Lucky Dragon to name a few, as well as important visitor destinations such as the Las Vegas Convention Center. You'll also find many smaller chain/name-brand hotels and motels offering reliable service at rates that are usually cheaper than you'll pay in a big casino-hotel on the Strip.
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The communities of Summerlin and North Las Vegas are where many of the people who work on the Strip live, shop, eat, and play. Yes, there are some major casino hotels in the area, including the stunning Red Rock Resort and a few notable restaurants, but for the most part what you'll find here are dependable chain stores and eateries that offer comfort shopping and food at better-than-Strip prices.


December 4, 2012, 6:32 p.m.
After a day of shopping, my friend casually mentioned that a local greyhound rescue organization was holding an adoption fair nearby. She thought it would be fun to stop by and take a look — to cuddle without commitment — but I knew better.
That was seven years ago, long enough ago to share a rescue tale about how a food writer named Susan Puckett fell in love with a fawn-colored greyhound named Laney.
As designated driver, I was pretty confident that there would be no impulse dog adoptions. Shopping bags covered my back seat, leaving no room for a pooch the size of a pony. I also knew that most reputable rescue organizations would not adopt pets without a lengthy adoption process. What I didn't know at the time was that my friend had adopted from this organization before. If she made a love connection, we had a good chance of returning to Atlanta with a dog in tow.
Puckett took the dog for a short walk to test her temperament around kids as well as other dogs. Laney — known then by her racing name, Reba's in Front — relished the attention. Like most former racing greyhounds, she had grown accustomed to the leash as well as being handled. This dog had found a forever home. Puckett adopted Laney a few days later.
Greyhounds were not Puckett's first choice for a house pet. She grew up around smaller dogs and thought a more compact pooch would be her best option. But a greyhound meet-and-greet piqued her curiosity. Puckett had never seen this stately breed up close and wanted to see how they behaved. During an event sponsored by Adopt A Greyhound Atlanta, which finds homes for former racing dogs, Puckett instantly fell for the sweet and docile breed. She arranged to meet dogs available for adoption at the rescue facility, and that's where she met Sabrina, her first greyhound.
Another appeal to greyhound fans is that the racing dogs come with a full history that pet owners can explore. At about eight weeks, racing kennels tattoo a tracking number on the dog's ear. With that number, owners can learn about a dog's parents, its siblings and its race record. Laney's tracking number (visible in her ears at right) indicates that she was best-suited to a life of leisure.
"When greyhound people get together, besides just talking about the cute things our dogs do, most have been online and enjoy comparing the dogs' histories," Puckett said.
Adopting a greyhound from one of the city's oldest rescue groups also gave Puckett and Sabrina a strong support system. Organization founder Carl Veiner offered advice when she had questions about the breed, and frequently held events for greyhound owners. During one outing, he asked Puckett to consider adding another dog to the mix. The idea stuck.
"He called and said, 'I think I've got one I think you will really fall in love with,'" Puckett said. Soon after receiving that call, Della joined Puckett's pack and became a constant companion for Sabrina.
Caring for a pet means living with the bitter and the sweet. At about 11 years old, Sabrina suffered from a slipped disc that led to partial paralysis. Puckett took the greyhound to specialists and tried a number of options, including acupuncture, but nothing seemed to help. Unable to climb stairs, Sabrina spent nights crying in the living room as Puckett slept on a couch by her side.
Puckett made the difficult decision to euthanize Sabrina. While coping with that loss, she faced yet another blow. Della had developed a tumor and her days were numbered. Suddenly, Puckett was adjusting to life without the sound of squeaky toys or dog tags jingling. She decided to wait a year before adding another pet. But her home seemed emptier by the day. A month after Della's death, Puckett planned a shopping trip — one that included our pit stop at the greyhound adoption fair.
"You know how that goes," she said.
Laney enjoys twice-daily walks around her Decatur neighborhood, where she thrives on attention from kids and adults. While Puckett has run her share of races, her pooch doesn't exactly make a great jogging partner. Greyhounds are built for short sprints rather than long-distance treks. Puckett also warns that this breed should never be off leash due to its tendency to run after squirrels or other small animals.
Living with a food writer means she gets to enjoy plenty of gourmet goodies, but the fawn-colored pooch is just as happy with a spoonful of peanut butter. Water is her only true nemesis. Greyhounds have short coats, which thankfully require little grooming, so bath time is rare. Laney likes to cause mischief by playing with her squeaky toy when Puckett is on the phone, but Veiner offered a training tool that keeps naughtiness in check.
One look at laid-back Laney, and it's no surprise that her racing record is nonexistent. Most photos taken by Puckett's husband, Ralph Ellis, show the pooch in some form of repose, preferably on her plush pillow. Those twice-daily walks also tend to be a bit slower these days, but the 9-year-old greyhound still has plenty of pep in her step.
Got a pet question? Send it to pets@mnn.com and our expert will try to track down the answer. Plus: Visit our advice archives to see if your question has already been tackled.
Why do rescue groups ask such nosy questions?
Here's the story about how mediocre racer 'Reba's in Front' became 'Laney, the duchess of Decatur.' This rescued greyhound changed a writer's life.


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Tika Sumpter & Keshia Knight Pulliam stunning at The Butler Premiere
Monday this week saw the premiere of a new movie Lee Daniels' 'The Butler' with leading celebs gracing the red carpet at the prestigious Ziegfeld Theater in New York City. The film stars incredible actor Forest Whitaker who plays a butler who serves eight presidents having worked in the White House for over 3 decades. Oprah Winfrey plays the butler's wife. Tika Sumpter attended the premiere in a red Alberta Ferretti dress, white pumps and striking MAC Ruby Woo shade of red for the lip. She looks gorgeous as always. Cosby Show actress Rudy huxtable better known as Keshia Knight Pulliam looked equally gorgeous in a black and white ensemble featuring gold pumps.
More Appearances


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British , 1890 - 1978
An English painter and printmaker, Brockhurst was born in Birmingham in 1890. He showed a great talent for drawing at the Birmingham School of Art and in 1907, he entered the Royal Academy Schools in London. He won a traveling scholarship in 1913 that took him to Paris and Italy, where he studied the works of the Italian 15th century painters.
Brockhurst resided in Ireland from 1915-1919 where he met painter Augustus John, whose painting style was influenced by contemporary French art. He would return to England in 1919 for his first significant gallery exhibition. He became an etcher during the 1920s, but by 1930, returned to painting and became a fashionable portrait painter, his sitters including Marlene Dietrich, J. Paul Getty and the Dutchess of Windsor. At the height of his success, Brockhurst settled in the united States in 1939.
Allinson Gallery, Inc.
Thomas French Fine Art
Conrad R. Graeber Fine Art
Harris Schrank Fine Prints
Weyhe Gallery
William P. Carl Fine Prints
Stone and Press Gallery
Gerrish Fine Art
Viba
James McBey
Adolescence (Kathleen Nancy Woodward)
The Black Silk Dress (Anaïs).


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When light was shown to exhibit interference and diffraction, it seemed almost certain that light should be considered a wave. Since light can also propagate through empty space, one had to imagine a strange substance, an ether, that mediated the propagation of light waves. Since light also propagates in material objects, one had to assume that this ether was also present in material objects, and was chiefly responsible for the propagation of light in material objects. The existence of the ether seemed beyond doubt. In the first volume of Chwolson's excellent physics textbook, he states in the introduction to ether, "The hypothesis of this one agent's existence is extraordinarily close to certainty."
Today, however, we regard the ether hypothesis as obsolete. A large body of facts shows undeniably that light has certain fundamental properties that are better explained by Newton's emission theory of light than by the oscillation theory. For this reason, I believe that the next phase in the development of theoretical physics will bring us a theory of light that can be considered a fusion of the oscillation and emission theories. The purpose of the following remarks is to justify this belief and to show that a profound change in our views on the composition and essence of light is imperative.
The greatest advance in theoretical optics since the introduction of the oscillation theory was Maxwell's brilliant discovery that light can be understood as an electromagnetic process. This theory replaces mechanical quantities (the deformation and velocity of the ether's parts) with the electromagnetic state of the ether and the material under consideration. It reduces optical problems to electromagnetic problems. As the electromagnetic theory developed, it became ever less of a concern whether the electromagnetic processes could be explained by mechanical processes. One became used to treating electric and magnetic fields as fundamental concepts that did not require a mechanical interpretation.
The introduction of the electromagnetic theory simplified the elements of theoretical optics and reduced the number of arbitrary hypotheses. The old question about the oscillation direction of polarized light became irrelevant. The difficulties concerning the boundary conditions between two media were resolved using the theory's fundamental principles. An arbitrary hypothesis was no longer needed to eliminate longitudinal light waves. A consequence of the theory was the pressure of light, which plays such an important role in radiation theory and which has just recently been confirmed experimentally. I don't want to make an exhaustive list of well-known accomplishments, but rather concentrate on one main point, on which the electromagnetic and the mechanical theories of light agree — or rather, seem to agree.
In both theories, light is essentially an embodiment of the state of a hypothetical medium, the ether, which exists everywhere, even in the absence of light. It was therefore assumed that motions of this medium would influence optical and electromagnetic phenomena. The search for laws describing this influence caused a change in the basic ideas about the nature of radiation. Let us briefly examine the progression of this change.
This is a consequence of assuming that the ether participates in the motion of its object.
To test whether this prediction was true, Fizeau let two coherent, monochromatic beams pass axially each through their own water-filled pipe and then interfere with one another. Then he set the water in the pipes moving, one in the direction of the light's propagation and the other opposite to it. In this way, a shift of the interference pattern was produced, from which Fizeau could derive the influence of the object's velocity on the absolute velocity.
This experiment demonstrated that matter does not completely carry along its ether but, in general, the ether is moving relative to matter. Now the Earth is a material object, which moves in different directions over the course of a year relative to the solar system. The ether in our laboratories was assumed to not participate in the Earth's motion completely, just as the ether did not participate in the water's motion completely in Fizeau's experiment. Thus, the conclusion was that the ether was moving relative to our instruments, and that this relative motion changed over the course of a day and of a year. This relative motion was expected to produce a visible anisotropy of space, i.e., optical phenomena were expected to depend on the orientation of the apparatus. The most diverse experiments were performed without detecting the expected dependence of phenomena on orientation.
This contradiction was chiefly eliminated by the pioneering work of H. A. Lorentz in 1895. Lorentz showed that if the ether were taken to be at rest and did not participate at all in the motions of matter, no other hypotheses were necessary to arrive at a theory that did justice to almost all of the phenomena. In particular, Fizeau's experiments were explained, as well as the negative results of the above-mentioned attempts to detect the Earth's motion relative to the ether. Only one experiment seemed incompatible with Lorentz's theory, namely, the interference experiment of Michelson and Morley.
According to Lorentz's theory, a uniform translational motion of the apparatus of optical experiments does not affect light's progress, if we ignore second- and higher-order terms of the quotient (speed of apparatus)/(speed of light). The Michelson and Morley interference experiment showed that, in a special case, second-order terms also cannot be detected, although they were expected from the standpoint of the ether-at-rest theory. To include this experiment in the theory, Lorentz and FitzGerald introduced the postulate that all objects, including the parts of Michelson and Morley's experimental set-up, changed their form in a certain way, if they moved relative to the ether.
This state of affairs was very unsatisfying. The only useful and fundamentally basic theory was that of Lorentz, which depended on a completely immobile ether. The Earth had to be seen as moving relative to this ether. But every experiment designed to demonstrate this ether had a negative result, so that one was driven to a very strange hypothesis to understand why such a relative motion was not detectable.
Michelson's experiment suggests the axiom that all phenomena obey the same laws relative to the Earth's reference frame or, more generally, relative to any reference frame in unaccelerated motion. For brevity, let us call this postulate the relativity principle. Before we tackle the problem of whether it is possible to maintain the relativity principle, let us briefly consider what happens to the ether hypothesis, if we maintain the relativity principle.
The foundation of the ether hypothesis is the experimentally based assumption that the ether is at rest. The relativity principle states that all natural laws that hold in a reference frame K' moving uniformly relative to the ether are identical with those that hold in K, a reference frame at rest relative to the ether. If that is so, we can just as well imagine the ether is at rest relative to K', not K. It is completely unnatural to distinguish the two reference frames K' and K by introducing an ether that is at rest in one. A satisfying theory can only be reached if we dispense with the ether hypothesis. Then the electromagnetic fields that make up light no longer appear as a state of a hypothetical medium, but rather as independent entities that the light source gives off, just as in Newton's emission theory of light. As in that theory, space that is free of matter and radiation is truly empty.
Superficial consideration suggests that the essential parts of Lorentz's theory cannot be reconciled with the relativity principle. According to Lorentz's theory, if a light beam propagates through space, it does so with a speed c in the resting frame K of the ether, independently of the state of motion of the emitting object. Let's call this the constancy of the speed of light principle. The theorem of the addition of speeds states that the same light beam will not propagate at speed c in a different frame K' moving uniformly relative to the ether. The laws of propagation thus seem to be different in the two frames and, hence, the relativity principle seems to be incompatible with the laws governing light's propagation.
However, the theorem of the addition of speeds rests on arbitrary axioms. It presupposes that information about time and the form of moving objects has meaning independent of the motion of the moving reference frame. But one can convince oneself that the definitions of time and the form of moving objects require the introduction of clocks at rest in the reference frame under consideration. These concepts must be defined for each reference frame, and it is not self-evident that these definitions will produce the same time values in two frames K and K' moving relative to one another. Similarly, it cannot be said a priori that statements about the form of objects in K will also be valid in K'.
for an appropriate choice of initial origins. In this equation, c is the speed of light in vacuo, x, y, z, t are the space-time coordinates in K, and x', y', z', t' are those in K'.
This path leads to the so-called relativity theory. I only wish to bring in one of its consequences, for it brings with it certain modifications of the fundamental ideas of physics. It turns out that the inertial mass of an object decreases by L / c2 when that object emits radiation of energy L. This can be derived as follows.
Thus, the inertial mass of an object is diminished by the emission of light. The energy given up was part of the mass of the object. One can further conclude that every absorption or release of energy brings with it an increase or decrease in the mass of the object under consideration. Energy and mass seem to be just as equivalent as heat and mechanical energy.
Relativity theory has changed our views on light. Light is conceived not as a manifestation of the state of some hypothetical medium, but rather as an independent entity like matter. Moreover, this theory shares with the corpuscular theory of light the unusual property that light carries inertial mass from the emitting to the absorbing object. Relativity theory does not alter our conception of radiation's structure; in particular, it does not affect the distribution of energy in radiation-filled space. Nevertheless, with respect to this question, I believe that we stand at the beginning of a development of the greatest importance that cannot yet be surveyed. The statements that follow are largely my personal opinion, or the results of considerations that have not yet been checked enough by others. If I present them here in spite of their uncertainty, the reason is not an excessive faith in my own views, but rather the hope to induce one or another of you to deal with the questions considered.
The oscillation theory, in its present formulation, gives no answers to these questions. In particular, it is completely incomprehensible why cathode rays produced photoelectrically or by X-rays acquire such a considerable velocity independent of the light's intensity. The appearance of such great amounts of energy in molecular entities under the influence of a light source in which the energy is distributed so thinly (as we must assume for light radiation and X-rays, given the oscillation theory) drove competent physicists to take refuge in a rather far-out hypothesis. They assumed that light played merely a releasing role in the process, and that the molecular energies produced were of a radioactive nature. Since this hypothesis has already been abandoned, I won't bring any arguments against it.
The fundamental property of the oscillation theory that engenders these difficulties seems to me the following. In the kinetic theory of molecules, for every process in which only a few elementary particles participate (e.g., molecular collisions), the inverse process also exists. But that is not the case for the elementary processes of radiation. According to our prevailing theory, an oscillating ion generates a spherical wave that propagates outwards. The inverse process does not exist as an elementary process. A converging spherical wave is mathematically possible, to be sure; but to approach its realization requires a vast number of emitting entities. The elementary process of emission is not invertible. In this, I believe, our oscillation theory does not hit the mark. Newton's emission theory of light seems to contain more truth with respect to this point than the oscillation theory since, first of all, the energy given to a light particle is not scattered over infinite space, but remains available for an elementary process of absorption.
In his remarks after the talk, Johannes Stark confirmed that a single X-ray had traveled as far as ten meters and ejected an equal energy electron from P2.
As far as we know today, the speed of the secondary cathode rays depends neither on the distance between P1 and P2, nor on the intensity of the primary cathode rays, but rather entirely on the speed of the primary cathode rays. Let's assume that this is strictly true. What would happen if we reduced the intensity of the primary cathode rays or the size of P1 on which they fall, so that the impact of an electron of the primary cathode rays can be considered an isolated process? If the above is really true then, because of the independence of the secondary cathode rays' speed on the primary cathode rays' intensity, we must assume that an electron impinging on P1 will either cause no electrons to be produced at P2, or else a secondary emission of an electron whose speed is of the same order as that of the initial electron impinging on P1. In other words, the elementary process of radiation seems to occur in such a way that it does not scatter the energy of the primary electron in a spherical wave propagating in every direction, as the oscillation theory demands. Rather, at least a large part of this energy seems to be available at some place on P2, or somewhere else. The elementary process of the emission of radiation appears to be directional. Moreover, one has the impression that the production of X-rays at P1 and the production of secondary cathode rays at P2 are essentially inverse processes.
Therefore, the constitution of radiation seems to be different from what our oscillation theory predicts. The theory of thermal radiation has given important clues about this, mostly by the theory on which Planck based his radiation formula. Since I cannot assume that everyone is familiar with this theory, I will cover its essential points briefly.
A radiation of definite constitution occupies the interior of a cavity of temperature T, and is independent of the cavity's material composition. The cavity contains an energy density ρ dν for frequencies between ν and ν + dν. Finding ρ as a function of ν and T poses a problem. If an electric resonator of eigenfrequency ν and negligible damping occupies the cavity, the time average of the resonator's energy E as a function of ρ(ν) can be calculated from the electromagnetic theory of radiation. The problem is thereby reduced to that of determining E as a function of T. However, the latter problem can also be reduced to the following. Let the cavity contain very many resonators of frequency ν; how does the entropy of the system depend on its energy?
where k is a universal constant, and W is the probability of the state under consideration. This probability is measured by the number of "configurations", a number that counts the number of ways the state under consideration can be realized. In the case above, the state of the resonator system is defined by its total energy, so the question to be answered reads: how many ways can a given total energy be distributed among N resonators? To find this out, Planck divided the total energy into parts of equal energy ε. A configuration is determined by the number of parts ε allotted to each resonator. The number of such configurations that result in the given total energy is calculated and set equal to W.
It might seem that, in accordance with this derivation, Planck's radiation formula follows from the present electromagnetic theory. This is not the case, for the following reason. The number of configurations, of which we were just speaking, can be thought of as expressing the multiplicity of the distribution possibilities of the total energy among N resonators, if every imaginable distribution of energy approached within some approximation of the calculated number of configurations W. This requires that the energy ε be small compared to average resonator energy E for all ν. But simple calculation shows that, for a wavelength of 0.5 μm and an absolute temperature T = 1700 K, ε / E is not only not small compared to one, but is very big compared to one; the value is approximately 6.5 x 107. This numerical example shows that the counting of the states must have gone awry, if the resonator's energy can only assume the value zero or 6.5 x 107 times its average energy (or a multiple thereof). Clearly, in such a process, only a vanishingly small part of those energy distributions, which must be possible according the fundamental principles of the theory, are drawn upon to determine the entropy. Therefore, according to the fundamental principles of the theory, the number of configurations is not an expression for the probability in Boltzmann's sense. In my opinion, accepting Planck's theory means denying the precepts of our radiation theory.
I have already attempted to show that the present principles of the theory of radiation must be abandoned. In any event, it is unthinkable to reject Planck's theory because it does not fit those fundamental principles. This theory has led to a determination of the elementary quanta, which has been splendidly confirmed by the most recent measurements on alpha-particles. For the elementary quantum of electricity, Rutherford and Geiger obtained the mean value 4.65 x 10-10, Regener 4.79 x 10-10, while Planck, using his radiation theory, determined the intermediate value 4.69 x 10-10 from the constants of the radiation formula.
To arrive at a certain answer to this question, let us proceed in the opposite direction of Planck in his radiation theory. Let us view Planck's radiation formula as correct, and ask ourselves whether something concerning the composition of radiation can be derived from it. Of two considerations that I have carried out, I wish to sketch one for you, which seems especially convincing to me because it can be imagined so clearly.
Let there be an ideal gas inside a cavity, as well as a solid plate that is free to move perpendicularly to its plane. Because of the irregularity of the collisions between the gas molecules and the plate, the latter is moved such that its average kinetic energy is one-third of the kinetic energy of a monatomic gas molecule. (This follows from statistical mechanics.) Besides this gas (which we can imagine as consisting of only a few molecules), we assume that there is also thermal radiation at the gas temperature. This will be the case if the walls of the cavity are also at the same temperature T, do not let radiation pass through and are not completely reflective. Furthermore, we assume that our plate is completely reflective on both sides. In this situation, both the gas and the radiation will affect the plate. If the plate is at rest, the pressures are equal. If the plate is moved, however, the pressure on the forward side pushing back is greater than its counterpart pushing in the opposite direction. Hence, there will be a net force that opposes the motion of the plate, and increases with the speed of the plate. Let us call this force the "radiation friction".
If we assume for the moment that we have taken into account all the radiation's mechanical influence, we can summarize as follows. Collisions with gas molecules at irregular intervals give the plate irregular momentum. The speed of the plate decreases continuously between two such collisions, due to the radiation friction, which transforms the kinetic energy of the plate into radiative energy. As a result, the energy of the gas molecules would be continuously transformed into the energy of radiation, until all the available energy had turned into energy of radiation. There would be no equilibrium between gas and radiation.
This argument is fallacious because, similar to gaseous pressure, the radiation pressure on the plate cannot be considered constant in time and free of irregular variations. To allow thermal equilibrium, the variations in the radiation presure must be such that, on average, it compensates for the plate's loss of speed due to radiation friction. Remember that the average kinetic energy of the plate is one-third that of a monatomic gas molecule. Given the radiation law, the radiation friction can be calculated and, thence, the average amount of momentum the plate must receive from variations in the light-pressure to maintain a statistical equilibrium.
First of all, the simplicity of this expression is noteworthy. Planck's theory seems to be the only one that agrees with experiment to within observational error and yields such a simple expression for the statistical properties of the radiation pressure.
In trying to understand this expression, one notices at once that it is the sum of two terms. It is as if two independent causes were working to produce variations in the radiation pressure. One can conclude from the fact that Δ2 is proportional to A that the pressure variations for two neighboring regions are completely independent of each other, if the regions have dimensions large compared to the wavelength of the reflection frequency ν. The second term of the expression for Δ2 can be explained by the oscillation theory. According to that theory, light rays of slightly different direction, frequency and polarization interfere with one another; variations in the radiation presure correspond to uncorrelated occurrences of interference in the whole. Simple dimensional analysis shows that this variation must be of the form of the second term of our formula. Clearly, the oscillatory structure of radiation does indeed give rise to variations in the radiation pressure, as predicted.
How can the first term be explained? It is by no means negligible; it is completely dominant in the regime where Wien's radiation formula holds. For a wavelength of 0.5 μm and a temperature T = 1700 K, this term is approximately 6.5 x 107 times larger than the second. It turns out that the first term of our formula results from assuming that radiation consists of localized groupings of energy hν that are reflected and move through space independently of one another — an idea presented by the most primitive picture of the light-quanta hypothesis.
Therefore, I believe one must conclude the following from the above formula derived from Planck's radiation formula: In addition to the spatial irregularities in the distribution of radiation's energy that arise from the oscillation theory, there are also other irregularities in the same spatial distribution that completely dominate the first-mentioned irregularities when the energy density of the radiation is small. I add that another argument involving the spatial distribution of the energy gives exactly the same results as those given above.
As far as I know, no mathematical theory has been advanced that does justice to both its oscillatory structure and its quantum structure, which we derived from the first term of the above formula. The difficulty lies in the fact that the variational properties of radiation, as expressed in the above formula, offer few reference points for setting up such a theory. One might imagine a situation in which diffraction and interference were still unknown, but one knew that the average magnitude of the irregular variations of the radiation pressure was determined by the second term of the above equation, where ν is a parameter of unknown meaning that determines the color. On this basis, who would have enough imagination to construct an oscillatory theory of light?


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Foundation Announces Centennial Gift to the Community
At the Foundation's event, Better Communities and Better Lives: A Keynote and Conversation with David Brooks at R.J. Reynolds Auditorium, our President Scott Wierman announced a centennial gift to the community to commemorate the Foundation's establishment 100 years ago in 1919.
After extensive discussion and research with the City of Winston-Salem, the Foundation has made a $125,000 grant to create sustainable pollinator gardens at Quarry Park. The 228-acre park opened in 2017 and is still in development. This beautiful site is connected to local greenways and is home to a wide variety of wildlife, including wild turkey, deer, quail, and bald eagles.
In addition to further beautifying the park, the gardens will provide a rich habitat with which to attract pollinating insects and which are critically needed in our environment today. This effort will also positively impact the City's ability to implement the Sustainable Sites Initiatives, standards developed by the American Society of Landscape Architects and the Lady Bird Johnson Wildflower Center. The grant includes support for site and soil preparation, an irrigation system, and signage and environmental education systems.
Wierman notes, "We're grateful to have funded this project through a Foundation fund designated for city beautification that was established by a generous family many years ago. We're excited that this project will benefit community members of all ages and backgrounds, and its ecological, environmental, educational and recreational benefits will be many."
Allen Joines, mayor of Winston-Salem, was on the stage Thursday night to accept the award on behalf of the City.
Joines remarks, "This is a significant investment in our community's well-being, and the City of Winston-Salem could not be more appreciative of this special centennial gift. This will add to our ongoing efforts toward creating a healthier home for all city residents - not only for our people, but also for our environment."
Work on this project will begin this spring, and updates will be provided on the Foundation's website as the project unfolds in 2020.
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ECE Seminar with Professor Seyed Zekavat
1:00 pm on Friday, August 2, 2013
Photonics Center, 8 Saint Mary's St., Room 339
http://www.bu.edu/ece/files/2013/08/Zekavat.pdf
Wireless Local Positioning System and its Applications in GPS-Denied Environments With Professor Seyed Zekavat Michigan Technological University Faculty Host: David Castanon Refreshments will be served outside Room 339 at 12:45 p.m. Abstract: Wireless Local Positioning System (WLPS) is an innovative positioning system that enables single node localization in GPS-denied or GPS-jammed environments. The WLPS is a self-contained single node localization system, which supports mission-critical systems, not yet available; currently, the developed localization systems for GPS-denied environments require the availability of multiple nodes. Multiple nodes are not available in all applications. WLPS consists of: (1) a mobile or dynamic base station (DBS), and (2) a transponder (TRX) in target mobiles, which acts as active targets. Unique identification codes (IDs) are assigned to each target. In WLPS, DBS transmits an ID request (IDR) signal periodically to all targets located in its vicinity, and targets respond to that signal by transmitting their ID codes back to the DBS. DBS is a multiple-antenna system that independently and remotely localizes single-antenna (active) nodes via time-of-arrival (TOA) and direction-of-arrival (DOA) estimation. Multiple antennas also enable beam-forming that reduces interference and improves the detection and localization (DOA-TOA estimation) performance. WLPS is designed to be a system that facilitates the process of tracking, monitoring, and control of mobiles in a scattering and multi-agent environment and has a broad range of indoor and outdoor applications. The DBS is designed to enable line-of-sight (LOS) identification and to verify the measured DOA and TOA estimation. The DBS recognizes each target by its ID code, and then positions, tracks, and monitors those targets. Because targets in this system are active and contribute to the process of identification by specific ID codes, the achieved probability-of-detection is high. In this talk, (1) the WLPS structure, (2) a summary of research conducted on developing new and low complexity algorithms for direction-of-arrival and time-of-arrival estimation and beamforming, (3) non-LOS (NLOS) identification and localization methods, (4) different stages of prototype development and progress made, and (5) WLPS applications in indoor security, battlefield command and control, space orbit control, health and emergency services will be presented. About the Speaker: Dr. Seyed Zekavat is associate professor and director of the Wireless Position Lab at Michigan Tech University. He received his Ph.D. in 2002 from Colorado State prior to joining Michigan Tech. He is the Founder and Director of VIEWComm, a Wireless Position Location Company. His research interests include wireless localization and communications, channel modeling, cognitive radio-based localization, space-based solar power, spectrum allocation techniques and smart antennas and antenna design. He is on the editorial board of the IET Wireless Sensor Systems Journal. He is the author of four books, including Electrical Engineering: Concepts and Applications, which was the result of an NSF-funded multi-disciplinary effort at Michigan Technological University to create a new curriculum that is attractive, motivational, and relevant to students.


At our recent Open House party, we had this group photo taken to show you all our current employees and how much fun we are having serving you!
Our new location and sign gets your attention right away as you approach 140 Lancaster Road. We have completely remodeled the inside with attractive and creative flair you are sure to enjoy. Complementary wifi and refreshments await you in this fun environment. Sara can't wait to show you what she's done with the place!
At a recent Paul Mitchell Training Day in Bedford, NH, our team got a chance to chat and grab a picture with these talented stylists… great day learning new things!