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The Academy Awards are almost upon us and and, as they do every year, my friends Aurora, Kellee, and Paula have been throwing their month-long 31 Days of Oscar blogathon. It is held in conjunction with the annual programming on Turner Classic Movies (TCM) and celebrates all the winners, losers, and snubs of Oscar history. This year I chose to look at the intrigue surrounding the one Academy Award--for Best Costume Design--given to 1954's Sabrina.
On screen Sabrina is such a sweet tale--a Cinderella story that largely mirrored Audrey Hepburn's own off screen. Even with co-stars like William Holden and Humphrey Bogart--one who fell head-over-heels in love with her and one who did not--it's really Audrey's film. As the title character, it's a glorious follow-up to her Oscar-winning debut in Roman Holiday (1953). And it's her style we remember. Many don't realize that much of the drama behind-the-scenes on the film had to do with that very costume design. Some of the drama would even play out in front of the audience at the Academy Awards, and it would continue in a manner that seems tailor-made for Hollywood. It all begins with costume designer Edith Head and ends with fashion designer Hubert de Givenchy.
In 1953--the year when Sabrina was in production--Edith was the head of Paramount's costume design department. She had been at the helm for 15 years, and had worked with her mentors Howard Greer and Travis Banton for 15 years before that. She started at the studio in 1923 with no real experience in design outside night classes at the Chouinard Art Institute in Los Angeles (now CalArts). In fact, she bluffed her way into an assistant's job for Greer by "borrowing" sketches and then presenting them as her own portfolio. He recalled:
We placed an ad in the papers and a young girl, with a face like a pussy cat crossed with a Fujita drawing, appeared with a carpetbag full of sketches. There were architectural drawings, plans for interior decoration, magazine illustrations, and fashion designs. Struck dumb with admiration for anyone possessed of such diverse talents, I hired the gal on the spot. [But] she came to work the next morning and looked out from under her bangs with the expression of a frightened terrier.
According to Greer, Edith quickly confessed to "[picking] up everybody's sketches [she] could get her hands on" at Chouinard. Even so, her audacity impressed him. There was something about her that gave him faith she would rise to the challenge and he began to teach her everything he knew--from design to production. Not only was Edith a fast learner, but she was strong in areas that were valuable to artists like Greer and Banton. She was an outstanding organizer and manager as well as a truly gifted politician. They also discovered she was a talented designer after all.
Edith Head during her first decade at Paramount (above)
and her iconic look as head of Paramount's costume design department
Once Greer left to start his own fashion line in 1927, Edith worked closely with Banton on films such as Shanghai Express (1932) and My Man Godfrey (1936) where she generally designed for everyone except the star. She also created all the costumes for other films, such as westerns, that did not feature a major star. Banton made his own exit in 1938 and, as a result, Edith was made head of costume design at Paramount. In this role, she would be responsible for some of the most iconic costume design of all time. By the time she was assigned Sabrina, the following are just some of the highlights of her career:
The Lady Eve (1940) and Double Indemnity (1944)--Barbara Stanwyck was a close friend who was once considered unattractive by studio brass until she benefited from Edith's transformative powers of design. Most of Stanwyck's films are by Edith.
This Gun for Hire (1942)--Like Barbara, most Veronica Lake movies can be credited to Edith, including Sullivan's Travels (1941) all the way through her three films noir with co-star Alan Ladd.
Notorious (1946)--This is Edith's first film with director Alfred Hitchcock and they would go on to have a long successful working relationship. In fact, the look of the 'Hitchcock Heroine' is perhaps Edith's biggest claim to fame--she is behind the style of To Catch a Thief (1955), Vertigo (1958), The Birds (1963), and more. Rear Window (1954) was done at the same time as Sabrina.
All About Eve (1950)--A favor for friend Bette Davis at 20th Century Fox that turned into an Oscar for Edith's well-known costume design.
A Place in the Sun (1951)--Edith won another Oscar for her costume design, this time for Elizabeth Taylor that immediately resulted in thousands of knock-offs and established the prototype for prom dresses forever.
And this leads us to Sabrina. This was a film where Edith had worked with both director and star before--Billy Wilder on Double Indemnity (1944) and she had just finished Roman Holiday (1953) with Audrey Hepburn. Edith had won four of her eight Oscars by this point in her career and, in fact, was about to win her fifth for Roman Holiday. From all accounts, this should have been smooth sailing. But there was one big difference--Audrey was about to become a star.
Roman Holiday finished production toward the end of 1952. Though it wouldn't be released until August 1953, studio heads at Paramount knew they had a hit on their hands and that the world was about to be introduced to a very special actress. Sabrina would be the perfect follow-up for their new star. Familiar with the story, Audrey understood that the character undergoes a metamorphosis--she starts as the mousy daughter of a chauffeur, goes to cooking school in France, and comes back as a Parisian sophisticate. It occurred to Audrey that one designer should be responsible for the "before" wardrobe and another--ideally a couturier from Paris--should design the "after." She approached Billy Wilder, who approved of the idea, and off Audrey went to Europe to meet fashion designer Hubert de Givenchy.
Hubert de Givenchy (above)
and with new muse Audrey Hepburn
Givenchy had only recently launched his own fashion line in 1952, but had worked for many years in couture. Though he was first rejected by his idol Cristóbol Balenciaga----a man who would later become his mentor and very close friend--he was immediately hired by Jacques Fath. After a year with Fath came another year with Robert Piguet, which was followed by six more months with Lucien Lelong (the brief tenure only because the great house closed in 1948). Finally, Hubert spent four years with the legendary Elsa Schiaparelli where he was eventually put in charge of running her boutique. Once he felt confident enough to start out on his own, the House of Givenchy was born.
From the beginning, his collections were "met with adulation by the press and buyers alike." Hubert always credited Balenciaga for inspiring his direction in design: "If I hadn't known [him], I might never have discovered the basic truth about fashion....Creating a perfectly simple dress from a simple line--that is a great design!" Along with his mentor, Givenchy "had a desire to express a purity of line rather than decoration" and believed following this philosophy would result in "consistent perfection." That said, the two approached a garment's creation very differently. In contrast to Balenciaga--who first did a sketch, then a canvas pattern (a toile), then chose the fabric, and finally created the dress--Givenchy liked to begin with the fabric and let that inspire the garment. Eventually the two became very close; Balenciaga's admiration was so strong that he sent all his clients to Givenchy when he closed his own house in 1968.
Audrey was a huge fan of fashion. She once told Vogue's Paris bureau chief Susan Train, "Clothes are positively a passion for me. I love them to a point that it is practically a vice." At the time, she considered Givenchy "the newest, youngest, most exciting couturier" and was "captivated" by his work. An introduction was arranged thanks to Gladys de Segonzac, who was both married to the Paris head of Paramount as well as employed as the directrice of Schiaparelli who Givenchy knew from his years working there. But it's important to remember that this was a time when Roman Holiday had not yet been released, so the only 'Hepburn' that Givenchy knew was named Katharine. Instead, a very different woman knocked at his door. He remembered,
[A] very thin person with beautiful eyes, short hair, thick eyebrows, very tiny trousers, ballerina shoes, and a little T-shirt. On her head was a straw gondolier's hat with a red ribbon around it that said VENEZIA. I thought, "This is too much!"
Givenchy's directrice Dreda Mele agreed that "Audrey was always very definite in her taste and look. She came to [Givenchy] because she was attracted by the image he could give her. And she entered that image totally. She entered into his dream, too....They were made for each other." The team was not only impressed by the strength of her style and intuition, but were amazed by her natural "luminescence." It was clear that Audrey was as beautiful inside as out.
As taken as they were with one another, in the summer of 1953, Givenchy had no time at all to create costumes for a Hollywood film. The young 26-year-old fashion designer was still at the beginning of his own brand. He was working with a small staff and in the midst of readying what was only his fourth collection--for Fall/Winter 1953--that was to show very soon. Though Audrey could empathize, she wouldn't take 'no' for an answer. She looked around the salon and asked if she could try on samples that had already been created and shown for his Spring/Summer collection. Givenchy relented and sat mesmerized as his couture transformed Audrey before his very eyes.
What's fascinating is the order in which she selected and tried on the clothes. First was the wool suit that Sabrina wears when she returns from Paris. It fit Audrey to perfection; both she and Givenchy's runway model happened to share the same tiny waist. Next came the glorious embroidered black-and-white organdy gown that left everyone breathless. There was just something about the way Audrey carried the gown; her carriage and the lines of the dress made it seem custom-made for her. Finally, she slipped into what is today simply known as the "Sabrina"--the black cocktail dress with the bateau neckline, which disguised Audrey's narrow collarbone yet accented her strong shoulders. Even more details of the garments can be found within the photostory below. Each was perfect for Audrey herself and suggested her style while also being perfect for the character of Sabrina and her evolution. Director Billy Wilder had final approval, making sure that the clothes worked with the overall production and his own artistic vision. They did.
Billy Wilder with Audrey on the set of Sabrina
Though she couldn't really object, none of this particularly met with Edith Head's approval. "Every designer wishes for the perfect picture in which he or she can show off design magic. My one chance was Sabrina," she once said. "It was the perfect set up [with] my leading lady looking like a Paris mannequin." Obviously, we know this wouldn't be Edith's only chance. After all, Rear Window came out the same year as Sabrina--complete with its own high fashion wardrobe for Grace Kelly--and was quickly followed by To Catch a Thief. Edith had designed for great beauties before and would do so again. Yet we understand the source of her excitement at this opportunity. We can also understand her disappointment when she learned she would only be responsible for the "pre-Paris ragamuffin frock" and other less showy outfits in Sabrina.
On September 9, 1954, Sabrina had its premiere. The movie was an immediate hit, particularly for Audrey and her style. Not surprisingly, the style that people responded to most came from Givenchy's couture. But unfortunately, audiences did not yet know that the designs were his--sole screen credit for costume design was given to Edith. In her defense, that was simply the policy of the film industry at the time. When you consider the vast number of contributors in any production, you can understand why only the head designer received credit. Studio costume departments are filled with people who work on each design--sketch artists, pattern makers, tailors and seamstresses, and so on. But clearly Sabrina was a special case. When Audrey saw that Givenchy was not credited for his contributions, as she expected he would, she hit the roof and worked to change the policy for future films.
Though some understanding can be granted for the issue of screen credit on Sabrina, none can be given when it comes to what happened during that award season. Sabrina was one of the best movies of the year and nominated for 6 Academy Awards, including Audrey for Best Actress and Wilder for Best Director. Its only Oscar win came for its costume design. It was obvious to everyone that the award came in large part for the couture of Givenchy, but once again the subject of screen credit reared its head. Edith alone accepted the award (photo below). But while she remembered to thank the Academy on the stage, she never once acknowledged Givenchy's contributions in her speech. Not that this is any excuse, but I suspect in her mind he was just another person working on her team. He was a young designer and she was at the high point of her career, winning back-to-back Oscars and even dressing that year's Best Actress winner Grace Kelly for the show.
Edith with her Oscar for Sabrina (above)
and Grace Kelly winning that year's Best Actress Oscar (for The Country Girl) wearing Edith Head
This would have been bad enough, but Edith never gave credit to Givenchy outside the Oscars either. Practically to her grave, Edith insisted that all the designs in the film were her own. To get a great sense of her perspective, you can read the LA Times article by costume designer Jean-Pierre Dorléac who was mentored by Edith and spoke with her in 1974. As they discuss, there are indeed sketches from Edith of the black cocktail dress (one shown below) and she did show a sample in her fashion shows. But from all accounts, reason for both sketches and samples is that duplicates of the dress were needed for safety (in case of spills, for instance). This perpetuation of such injustice--something that Givenchy himself graciously did not address until after Edith's passing--is why she has so many detractors today. She is often accused of taking credit for others' work--starting with the story of her hiring at Paramount--and those accusations now plague her six decade long career. The tragedy for me, as someone who deeply admires Edith and is personally influenced by her work, is that she clearly did not need to do this. As you saw from the list of films in the opening of this article, her own talent was enough.
Edith Head's sketch of Givenchy's LBD (above)
and other sketches that she offered as possibilities for the film
All drama over the Oscar win aside, Sabrina should really be remembered for its continuation of a Cinderella story and celebration of great design. The world was introduced to Hubert de Givenchy through this film and it captures the very beginning of his loving friendship with muse Audrey Hepburn. This movie is also an example of how costume design made an impact, and continues to make an impact, on fashion. Because they are modeled by Audrey, every one of her outfits in Sabrina acts as inspiration to designers and fans. But the hugest hit and longest legacy has got to be its Little Black Dress--from its color to its silhouette. Though couturiers like Lucile and Coco Chanel had broken ground in the 1920s by introducing black as an option for our clothes (with a special assist from costume designers like Travis Banton), it was Givenchy's one-two punch of Sabrina and Breakfast at Tiffany's (1961) that really sealed the deal. Women went mad for the evolution of Little Black Dress and our wardrobes would never be the same. Then there was the bateau neckline of Sabrina's dress, which was very new at the time in fashion. It was so new, in fact, that this is what made some suspect that Edith had not done all the costumes for the film. The boatneck, as it's also called, became so famous on Audrey that it is now often known as the "Sabrina." And of course the lines of the dress, perfect in their simplicity with a nipped in waist and full ballerina skirt, would be done again and again by Givenchy, including for Funny Face (1957). One can see examples of both the neckline and dress copied all over the world.
In 1962, Audrey proudly declared in Ciné Revue, "Everything I have worn for the last 10 years has come from Givenchy.....It is because he creates quality clothes which combine simplicity and beauty." Their mutual admiration resulted in 16 movies together and he would supply much of her offscreen wardrobe as well. That said, many books on fashion continue to state that it is this film that is of particular inspiration to designers. See where it all began in 1954's Sabrina.
Sabrina before she goes to Paris
in the "ragamuffin frock" created by Edith Head for the character
Sabrina at cooking school in Paris--still wearing Edith Head--
before her transformative hair cut
Sabrina still in Paris but after cropping her hair...
thinking of her return to America with all she's learned and become
Sabrina's return from Paris in Givenchy
"That jazzy suit," as Audrey called it--an Oxford-gray wool-ottoman tailleur with a double-breasted scoop-neck jacket and slim, calf-length vented skirt. Hat is a turban of pleated pearl-gray chiffon created by Givenchy's in-house milliner. Both were samples from his Spring/Summer 1953 collection, and the suit and hat were presented together when shown on the runway.
Details from Vanity Fair article "When Hubert Met Audrey"
Front and back of the suit in its entirety
Transformation is so complete that
even David (William Holden) doesn't recognize Sabrina
Sabrina's "welcome home" party gown by Givenchy
White strapless organdy ball gown embroidered with flowers of black silk thread and jet beads, and a detachable train with black ruffles that brushed along the floor. Another sample from Givenchy's third collection for Spring/Summer 1953.
As we watch David fall in love with Sabrina,
we catch glimpses of the real-life romance between Bill and Audrey
What can be more luxurious-looking
than couture on an indoor tennis court
Though Sabrina is in love with David,
she starts to get to know--and love--Linus (Humphrey Bogart) as well
Sabrina goes sailing with Linus in Edith Head--
a plaid shirt with simple white shorts
Sabrina in Givenchy's LBD for cocktails with Linus
The "Sabrina"--According to the Vanity Fair article "When Hubert Met Audrey," the dress was made with ribbed cotton piqué woven by the venerable fabric house Abraham. This one certainly photographs more like satin, so perhaps this is one of the copies made at Paramount. Tiny bows act as fasteners at each shoulder and the dress also buttoned down a deep V in the back. Its most groundbreaking and influential feature, though, is its "shallow, razor-sharp horizontal neckline," which was known as the bateau before the film and simply as the "Sabrina" now.
The hat is a medieval-looking toque paved with rhinestones that gave her the illusion of wearing a storybook crown. Another sample from Givenchy's Spring/Summer 1953 collection, though the hat was not shown with the dress on the runway. Givenchy said, "Audrey always added a twist, something piquant, amusing, to the clothes."
Note how the neckline is particularly flattering to Audrey's narrow neck
and highlights her strong shoulders
The striking simplicity of Givenchy's lines
and he brings something special to the back as well with a deep V and delicate buttons
The hat was chosen by Audrey to include with the dress (it was not shown on the runway this way),
but I always preferred the look without it
Finishing the film in Edith Head again,
but this is a trademark look of Audrey's--capris and ballet flats--that was part of her personal style
Love the inclusion of the V-back on the top that mirrors the look of the earlier LBD
Callan, Georgina O'Hara. The Thames & Hudson Dictionary of Fashion and Fashion Designers. 2nd ed. London: Thames & Hudson, Ltd., 2008. Print.
Collins, Amy Fine. "When Hubert Met Audrey." Vanity Fair. December 1995. Web. January 26 2015.
Dorléac, Jean-Pierre. "Edith Head and the 'Sabrina' Dress." Los Angeles Times. October 24 2010. Web. January 26 2015.
Fashion: The Definitive History of Costume and Style. London: Dorling Kindersley (DK) Ltd., 2012. Print.
Head, Edith and Paddy Calistro. Edith Head's Hollywood. Santa Monica: Angel City Press, 2008. Print.
Jorgensen, Jay. Edith Head: The Fifty Year Career of Hollywood's Greatest Costume Designer. Philadelphia: Running Press, 2010. Print.
Mendes, Valerie, and Amy de la Haye. Fashion Since 1900. 2nd ed. London: Thames & Hudson, Ltd., 2010. Print.
Taylor, Kerry. Vintage Fashion and Couture: From Poiret to McQueen. Ontario: Firefly Books, 2013. Print.
All screen captures by Kimberly Truhler for GlamAmor
Other Images:
ACertainCinema.com
ClassicHollywoodStyleBook.com
Classiq.me
Doctor Macro
FanPop.com
HipFashionStylist.blogspot.com
This article is part of the 31 Days of Oscar blogathon, which is related to TCM's annual programming--
click on the link to learn more about the history of the event and all of this years great entries
Labels: 1950s style, Audrey Hepburn, Billy Wilder, Costume Designer Bio, Edith Head, Hubert de Givenchy, Humphrey Bogart, Paramount Studios, Sabrina, Style Essentials, The Cinema Style File, William Holden
What a treasure trove of information and inspiration about this iconic style-setting film, Kimberly! Beautifully researched and wonderfully written. I enjoyed every minute of this, especially your personal reflections, as I know Edith is a muse of yours. Wonderful post!
Silver Screenings said...
I am disappointed that Edith didn't share the design credit with the fab Givenchy for this movie, but she is no less a hero in my eyes. As you said, she has many impressive movies on her CV.
Thanks for sharing all this background info, and all your research. You've given me a lot more to look at the next time I see this charming film.
Kelly J Kitchens Wickersham said...
To me, it makes sense that Edith didn't share the Oscar with Givenchy given the standards of the times. But as someone who works on films and who rarely gets screen credit for my work, I'm happy that has changed. There are so many people behind the people in charge and it is nice to get credit when credit is due. And I agree that Audrey should have worn her little black dress without the hat. It detracts from the dress a bit.
Irish Jayhawk said...
What a gorgeous feast for the eyes! SABRINA is a film that would not have become the classic it is if not for Audrey Hepburn and Edith Head (and Givenchy). The plot requires a butterfly-like transformation and they certainly deliver. As per usual, you've delivered a BEAUTIFUL and informative post- thanks again for joining our blogathon!
Kimberly Truhler said...
Thanks so much, Kay! A lot of work, as you know, but worth it in order to present the whole story. Couldn't help a bit of my own editorial since I do love her so much. Loved your own take on Edith and Oscar as well!
Thanks so much, Ruth! I always enjoy hearing your take on these articles. I love how you are looking at Edith even with me delving into this moment of her career. She's a hero to me, too. xo
Thanks for the comments, Kelly! I'm hearing that from a lot of people--they simply didn't know that was the policy at the time to only list one designer and it helps Edith seem like a little less a villain. lol But I agree--as many people as possible should be credited with their contributions. Costume design is still way behind on things. After all, they only got an Oscar in 1948, so they're still playing catch up. And I KNEW you would agree with me about that hat! LOL I always thought it was so odd in the midst of all that simple perfection... ;)
Thank YOU, Kellee, for hosting this unbelievable blogathon (with Aurora and Paula) each year. As I mentioned to you, it's incredible how many GREAT articles are written, and that SO MANY great writers are constantly and lovingly writing about classic film. It's really fun to see them all. xo
Citizen Screen said...
WOW!!! Simply fantastic! While I knew of the "rumors" that plagued Edith throughout her career I thought they were solely based on the fact she took other people's designs to Paramount initially. I didn't know about the drama behind the drama in SABRINA! Fascinating story. And, as always I learned a lot from your expertise. Your enthusiasm and love for this jumps right off the page. Wonderful write-up, Kimberly! Gorgeous photos too.
Wonderful and informative post, and I loved all the stills. Notwithstanding the Head/Givenchy issue, the costume design in this wonderful - in my opinion it's one of the best costumed films ever! The scene where she returns from Paris and 'catwalks' at the train station is my all-time favourite costume-on-screen moment!
Awww, thanks Aurora! ((big hug)) I really appreciate your comments, especially because I know how much you already know! Thanks so much for co-hosting this incredible blogathon and giving everyone an opportunity to share their passions for classic film.
Thanks GirlsDoFilm--I appreciate you stopping by and leaving your comments! I have no doubt this is one of your favorites. I think it's a favorite for just about everyone. It's just got that winning combination of stars, story, and style. Love it!
PLEASE read acclaimed costume designer Jean-Pierre Dorleac's recent publication THE NAKED TRUTH: AN IRREVERENT CHRONICLE OF DELIRIOUS ESCAPADES. He was mentored by Edith Head who told him detailed stories about not only SABRINA, but other project she designed for.
If you are a connoiseur of design and know what it requires to establish a CHARACTER IN A FILM, it is obvious, just from viewing SABRINA that Head did ALL THE COSTUMES, as there is a thread through the entire film regarding Hepburn's style/look that just DIDN'T HAPPEN, but was created. If you notice, with the exception of only a few pieces (the standard lay-back collar plaid shirt on the boat), the straight-across neckline was used in almost every costume: i.e. jumper at the beginning, black cocktail dress, white with black embroidered gown, black top with toreador pants, apron at the cooking school, etc. This is called creating a look for a specific character ... and Edith was TOTALLY responsible for this. Couture designer's don't think this way, and since Givenchy was just a neophyte at the time, he did NOT PLAN these details for Hepburn as he had never done a film before and didn't have the expertise to put this kind of concept together.
Costume designing goes FAR BEYOND just making a single garment. It also includes supplying all the accessories, like hats, jewelry, shoes, stocking, gloves and bag. They don't just suddenly materialize after a dress is made. Someone puts it all together ... and that is called costumes design. The other half of the job is making sure that ALL THE OTHER ACTORS in the project don't clash with clothing that don't compliment the leading lady. Even is the originally ideas for the dresses were lifted by Hepburn because she wanted to wear Givenchy, this didn't mean that Givenchy did THE COSTUMES FOR SABRINA ... as ONE, he wasn't in the Hollywood Costume Designers guild union at the time (or ever) and couldn't work on a union film for that reason, and TWO, he wasn't around to choose any of the accessories that went with the outfits TO COMPLETE A LOOK.
Go to www.jean-pierredorleac.com and read Chapter 1 in full, to get an idea of how informative Dorleac has been with all his accounts.
Acclaimed columnist Liz Smith raved about it in THE NEW YORK SOCIAL DIARY: http://www.newyorksocialdiary.com/guest-diary/2015/liz-smith-naked-truth
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Not all fats are created equal — which are the healthiest for you?
Recent studies have shown that olive oil offers many health benefits.
En español | When it comes to your heart, olive oil puts the "med" in Mediterranean. Not only can it lower cholesterol levels, blood pressure, and your risk of death from heart disease, but in a new French study of people 65 and over, olive oil users slashed their risk of stroke by 41 percent.
See also: 7 foods to keep you young.
If only the facts about other fats were so clear! Remember when margarine was supposed to be better for you than butter? Then research showed it was far worse. Ditto vegetable shortening. "No wonder consumers are confused," says Dawn Jackson Blatner, R.D., a spokesperson for the American Dietetic Association.
For the record, fat is an essential part of the diet; among its other functions, it helps the body absorb nutrients from foods. But not all fats are created equal. Unsaturated fats promote health, primarily by cutting cholesterol and thus lowering heart attack risk. The two main types of these "good" fats are mono-unsaturated fats, including canola and olive oils, and polyunsaturated fats, like corn and sunflower oils. "Any oil that is liquid at room temperature is heart-smart," says Blatner.
Saturated fats such as butter and lard have the opposite effect, raising blood cholesterol, particularly " bad" LDL cholesterol, and clogging arteries.
But of all the fats, the worst for your heart are trans fats, found in vegetable shortening and stick margarine. Trans fats result when liquid oils are pumped with hydrogen to make them solid. This trick of science gives processed foods a longer shelf life — but may shorten your own. The words partially hydrogenated oil on food labels signal the presence of trans fats.
Keep in mind that even good fats are loaded with calories, so they should not exceed 25 to 35 percent of daily calories.
You may also like: 5 weight loss myths.


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It's here! Watch the trailer for 'Star Wars: The Force Awakens'
The long-awaited second trailer for the seventh installment of the "Star Wars" movie franchise arrived Thursday.
April 16, 2015, 6:17 PM UTC / Updated April 16, 2015, 4:05 PM UTC / Source: TODAY
By Chris Serico
The Force is that much closer to being with us.
'Star Wars' trailer is a Force on the Internet
April 17, 201502:46
The hotly anticipated trailer for the seventh installment of "Star Wars: The Force Awakens" arrived Thursday, when director J.J. Abrams and Lucasfilm executive Kathleen Kennedy unleashed it on the first day of the "Star Wars" Celebration event at the Anaheim Convention Center in California.
"The Force is strong in my family," intones the voice-over, likely delivered by Luke Skywalker, played by original "Star Wars" cast member Mark Hamill. "My father has it. I have it. My sister has it. You have that power, too."
Clocking in at just under two minutes, the new teaser is full of goodies. In addition to clips of first-time "Star Wars" cast members Oscar Isaac, John Boyega and Daisy Ridley — who appeared at the convention — there's a cameo by Harrison Ford as Han Solo, who appears beside beloved Chewbacca.
"Chewie, we're home," Solo says, sparking nerd cheers around the world.
And if headgear, unto itself, were ever the kind of thing to inspire awe, Darth Vader's destroyed helmet definitely does the trick.
Before Abrams and Kennedy revealed the new video, panel moderator Anthony Breznican of Entertainment Weekly asked Abrams — who also co-wrote and produced the film — how the movie will please every last "Star Wars" fan.
"Well, we just will," said Abrams, earning a rousing round of applause in the convention center. "Here's the thing: Obviously, as they say, you can't please everybody, though we are trying very hard to do just that."
Hamill, who joined Carrie Fisher and other original cast members for a segment of the panel discussion, thanked fans for their support through the years.
"You're more than just fans," he said. "You're family."
Abrams also updated fans on the condition of Ford, who's recovering after crash-landing his airplane in March. "He's doing great," Abrams said. "I had respect for him all my life, but I've never had more respect for a guy until I saw how he landed that plane. That was an amazing thing that he did. He was more of a hero in that move than, I think, all of the movies he's been in."
New 'Star Wars' trailer has us 'bubbling with excitement'
An earlier "Star Wars" teaser-trailer took the Internet by storm in November, when frenzied fans obsessed over a one-minute, 39-second video montage of quick cuts and an ominous voice-over: "There has been an awakening. Have you felt it?"
"Star Wars: The Force Awakens" is scheduled to arrive in theaters in December.
Follow TODAY.com writer Chris Serico on Twitter.

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text:
Hennessy Teams Up With Artist Cai Guo-Qiang To Mark The Explosive 150th Anniversary Of Its X.O Cognac
by Y-Jean Mun-Delsalle
It was literally raining down fire all around us.
The high winds had caused the still-burning firework tubes to drift and come tumbling down onto our heads rather than into the nearby Charente River as anticipated on this stormy, blustery fall day in Cognac in west central France.
Hennessy "The Birth of Tragedy" by artist Cai Guo-Qiang
Cai Guo-Qiang, the mastermind behind the 2008 Beijing Olympics' opening and closing ceremonies, was commissioned by French cognac house Hennessy to present a color-drenched daytime pyrotechnic display, which saw 20,000 fireworks exploding from 150 oak barrels floating on the Charente's surface. The spectacle was part of Hennessy's "A World Odyssey" anniversary program in 2020 celebrating 150 years of Hennessy X.O (Extra Old), the brand's iconic cognac consisting of long-aged eaux de vie, perfecting the blend concocted by cellar master Emile Fillioux at the request of Maurice Hennessy.
"I wanted to create something vibrant and colorful to evoke emotions of optimism and courage," the 62-year-old New York-based Chinese artist explained.
"Staging the event on the Charente as a metaphor for Hennessy's history seems appropriate. The river was the channel through which its cognac traveled to the rest of the world. It has a history of delivering joy and romantic courage throughout the world, so through this project, we're going to use the same river to show people romance and courage. Fireworks in the daytime allude to another dimension of poetry, as the smoke creates forms akin to wild cursive scripts written in the air. There's a feeling of freedom and movement despite the unknown, of creating joy and persisting despite obstacles in an unpredictable context."
Entitled "The Birth of Tragedy" after Friedrich Nietzsche's work of dramatic theory, the 15-minute, three-act spectacle that required one and a half years to prepare conveyed a message of hope and unity during a period of uncertainty and was live-streamed to a global audience – a first for the maison and for the artist.
Shades of pink, yellow, blue, green, orange, purple, red, and white were propelled into the air as a symbol of resilience amidst the COVID-19 pandemic to uplift spirits, heal, and carry on with our lives, echoing Nietzsche, who believed there is a human spirit that, after acknowledging the pain of life, still welcomes and embraces it.
"After all, mankind is a part of nature, and in life, spring always comes after winter," Cai pointed out.
After having been approached by Hennessy at the end of 2017, Cai agreed to the basic concept and collaboration format in early 2019, then held his first site visit to Hennessy in July 2019 before setting about creating the artistic content of the explosive event.
It's a major production each time: subsequent to conducting tests in July 2020 in China's fireworks capital, Liuyang in the Hunan province, he arrived in Cognac ten days before the performance along with ten pyrotechnicians from Hunan, 20 French pyrotechnic workers from Toulouse, a technical director from Japan, a documentary film team of seven from China and France, and a broadcasting director from Beijing.
Elegy display from a boat by artist Cai Guo Qiang in 2014
"I have done daytime fireworks on boats, but have yet to realize daytime aquatic fireworks, of which this is probably the world's first," admitted Cai.
"Seeing the Charente and the barrel workshop along the river in Cognac, I immediately envisioned a picture of wine barrels floating and winding through the river like a dragon! This is my first time using barrels, letting them float on the river. Launching fireworks from water is different from doing it from land. You have to consider buoyancy, how the barrels flow, and the waves. The direction is constantly changing. The wind is also complicated because it comes from the waterway. Water is more spontaneous, similar to gunpowder – it's full of surprises. The idea of using barrels comes from my visit to Hennessy's cellar. They store a lot and can also float like a boat, to be the carrier for fireworks."
Born in Quanzhou, China, and a child of the Cultural Revolution, playing with fireworks had set Cai free. Gunpowder is fundamental to his practice, with obvious connections to Chinese history and the origins of the world.
Artist Cai Guo-Qiang
Communing with the spiritual universe, the concept behind Cai's art is based on a dialogue with unseen worlds, the cosmos, the deceased and his ancestors, and the never-ending cycle of life and death. Having introduced gunpowder to contemporary art, converting the tension, fear, and recklessness of destruction into beauty, he has redefined the possibilities of what art can be.
The "Spirit of Painting" artistic display by artist Cai Guo Qiang in 2017
Although his theatrical pyrotechnic performances may be of epic proportions, their very nature is ephemeral. "In my creations, I always chase after uncertainty or the unstable factor, the troublemaker that sparks the surprising element that I do not anticipate," he noted.
Laurent Boillot, chairman and CEO of Hennessy, commented, "2020 will remain in all our memories for its uncertainty and difficulty. But for the maison Hennessy, this is also the 150th anniversary year for an iconic cognac, Hennessy X.O. This exceptional performance is intended as a message of hope, and we feel that today it is practically our duty to be optimistic. Cai Guo-Qiang's work has an impalpable poetry, as does Hennessy X.O. It is our pleasure to host this fireworks event for the people of Cognac and our friends all over the world. From our vantage point in Cognac, where fireworks from the East bloom in the sky overlooking the Charente, Hennessy and Cai are proud to welcome one and all to participate in an artistic event that honors generosity of spirit and looks to new horizons with renewed courage."
Gunpowder painting by Cai Guo-Qiang for Hennessy's "The Birth of Tragedy" spectacle
In anticipation of the outdoor event, Cai had also produced a large-scale, colored gunpowder painting by igniting explosives directly onto canvas. Reflecting his vision of the fireworks spectacle he went on to orchestrate, it now forms a part of Hennessy's permanent collection and will soon tour internationally.
Hennessy will also be supporting his upcoming exhibition, Odyssey and Homecoming, opening this winter at the Palace Museum in Beijing.
Hennessy x Frank Gehry
Further celebrating the 150th anniversary of Hennessy X.O, the brand has released a 150-piece limited-edition decanter designed by world-renowned American architect Frank Gehry.
Hennessy Masterpiece decanter by Frank Gehry celebrating the 150th anniversary of Hennessy X.O for a 150-piece limited edition
Acclaimed for his deconstructivist architecture of curved façades, leaning walls, and gravity-defying lines that are pure whimsy and poetry, the genius behind the Guggenheim Bilbao, the Walt Disney Concert Hall in Los Angeles, and the Fondation Louis Vuitton in Paris drew inspiration from the Hennessy X.O blend, terroir, vines, and the Charente River to create a bottle enveloped in a rippling sleeve of bronze dipped in 24-carat gold that mirrors the water's movement, reflecting the light, itself housed within a fractured clear glass glorifier.
Frank Gehry with the Hennessy X.O decanter he designed
"It was an honor to be asked to celebrate this milestone for Hennessy X.O," Gehry stated. "While I was excited, it was also daunting because a bottle of cognac is already a work of art, one you can smell, taste and feel – it doesn't need embellishment as it's already there. We are showing how we can be creative within that language. There's such a powerful history and serious emotional commitment from the people who make this product. It has a resonance that's interesting to tie into and become a part of."
Hennessy X.O Frank Gehry limited edition
The decanter, glorifier, and a brass-and-gold elongated fusil pipette – an instrument used to serve the extra-old cognac without wasting a single drop – are packaged in a protective case crafted from compressed cardboard and imprinted with Gehry's signature, paying homage to his legendary 1970s corrugated cardboard furniture.
Selling for €15,000 through Moët Hennessy branches and by direct request, it's also available as a more affordable version retailing for €220 through the usual network of wine and spirits purveyors in markets worldwide.
For more information, please visit www.hennessy.com/en-us/collaborations/hennessy-xo-x-frank-gehry.
Hennessy Paradis Imperial Cognac: Ethereal, With Great Length And Complexity, Yet Balanced
Delamain Cognac: Compelling Evidence For The Benefits Of Time
Hine Antique XO Cognac: Not Compulsory To Enjoy With A Good Cigar . . . But Highly Recommended
Glenmorangie Signet: Rooted In Pictish Design And Worth Seeking Out
Penfolds Special Bottlings: Spirited Wines, Distilled Single Batch Brandy, And A Fortified


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AGE-FRIENDLY
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– Main Menu –WORKS AGE-FRIENDLY COMPANY NEWS CONTACT
CASA SOLO Arquitectos is a company created in 2008 by architects Francesc Pernas, Bernat Gato and Roger Pernas. CASA SOLO Arquitectos follows the path set by CASA Consultors i Arquitectes since 1987, mainly in the field of planning, design and construction of healthcare buildings, both in the public and private sectors. Our wide experience in complex programs like hospitals, allows us to successfully tackle other similar projects such as research centers, laboratories, senior living, health centers and others.
CASASOLO Arquitectos 100% Healthcare design
RENOVATION & ENERGY CERTIFICATION
INTERIORS PROGRAMMING AND DESIGN
Leaded by innovation and sustainability, our healthcare projects are thought to meet patient's needs but at the same time to solve the involvement of relatives and create an optimum working environment for staff.
Thanks to a multidisciplinary team of experts who research and practice innovative solutions integrating the latest computer technologies, our projects are in close connection to the needs and goals of our clients. Our Hospital and healthcare projects are conceived with the latest BIM technologies creating computational fluid dynamics and full cost modeling to simplify the communication between the promoter and the construction team.
We deliver exceptional healthcare design based on research and expertise to meet aesthetic, functional and efficiency requirements for our clients worldwide.
Because of their singularity, hospitals should be the paradigm of Accessibility for All. CASA SOLO has worked with the concept of "design for all" since our very beginnings in 1987. We incorporate physical, cognitive and sensory accessibility for all in our hospital projects beyond the regulatory requirements. We propose 100% inclusive hospitals that take the different types of users with special needs into account.
But here at CASA SOLO we go further, providing solutions to the challenges that derive from the phenomenon known as the "longevity revolution". Learn more
Sustainability is instilled in all our projects. Our international presence has leaded us to be aware of local and national certifications abroad from a collaborative and integrated process in connection with local laws and climate conditions. Focused on preserving resources and reducing greenhouse gas emissions, we work with digital energy models which are essential to accomplish with major energy certification such as LEED, Bream, HQE or Verde among others.
This philosophy is also applied to renovation of existing buildings, where we believe preserving and reusing consolidated structures is not only an opportunity to understand the features defining built structures of a city but also to contribute to the preservation of the past while transforming places and reinventing their uses.
Reusing built structures is the first step to sustainability.
Interior spaces in healthcare projects are extremely complex. Combining the analysis of human needs and behaviors with a deep knowledge of space requirements, materials and technologies we are capable to deliver simple and clear solutions that enhance healthcare environments.
We believe the quality of care is directly related to the quality of interior design. We deliver a strict quality of finishes in all our custom designed spaces and furniture which is accomplished thanks to an accurate construction management control. In today's hospitals and research centers technological systems and equipment acquire a core a fundamental role, it is essential to integrate them in the design process and to be updated on the latest technologies in the market, this is why our team is continuously researching and travelling to be able to advise our clients on the latest innovations.
Our spaces are thought to be flexible and effective to allow future modifications, implementing safe, maintainable and holistic designs through which we are capable of improving not only the wellbeing of the patients but also the families and the staff involved in the treatments.
We believe environment may influence on the quality of patient treatment. All our healthcare projects are thought from the inside and from the outside, planning urban design and landscape to deliver site-specific solutions crafted to site and local climate.
From intimate healing gardens to master planning projects we always work close to local authorities to define strategies for demanding site conditions in order to improve both built structures connections and people quality of life.
Our service ranges from site analysis, including accesses and movements testing, parking, urban design, landscape and gardening design. We are experts in enlarging hospital complex from the basis of functional plans and all our new projects include the prevision of buffer spaces which will allow the future growth. A hospital is a project in continuous change, which should be flexible to foresee future enlargements and technological improvements.
Roger Pernas
Graduated in architecture from the ETSAV – Polytechnic University of Catalonia in 2001.
He studied Building Engineering (UPC). Executive MBA at IESE Business School Finished in May 2015.
In 1999 he obtained a scholarship in the European program of interchanges SOCRATES in the Instituto Universitario di Architettura, city of Venetia (Italy). In 2000 he was junior professor of the introductory course of architecture at ETSAV School of architecture.
While he was studying architecture (1996-2001) he did internships in the architecture firm CASA Consultors i Arquitectes and structure firm Robert Brufau I Associats. From 2001 to 2003 he worked with the architect Rafael Moneo in Madrid developing the New Maternity of Gregorio Marañon Hospital. From 2003 to 2008 he was head of healthcare projects in the firm CASA Consultors i Arquitectes. In 2008 he founded CASA SOLO Arquitectos where it is since 2014 one of the executive partners.
Bernat Gato
In the year 2011 he finished the Master in Planning and Design of Health Centres (UOC).
In 1999 he obtained a scholarship in the European program of interchanges SOCRATES in n the École d'Architecture, city of Nantes (France). In 2000 he was junior professor of the introductory course of architecture at ETSAV School of architecture.
While he was studying architecture (1996-1999) he did internships in structure firm Robert Brufau I Associats and the architecture firm CASA Consultors i Arquitectes. He continued working from 2001 to 2008 in the firm CASA Consultors i Arquitectes, leading healthcare projects. In 2008 he founded CASASOLO Arquitectos where it is since 2014 one of the executive partners.
Paulina Ballbè
Paulina Ballbè is a lawyer specialising in European Union law. She was the first manager of Cuatrecasas' office in Brussels (1986-87). She has a Master in Development Cooperation from the Free University of Brussels and a postgraduate degree in Communication from UPF-IDEC. She has extensive experience as a European Commission official where, among other roles, she managed international tenders for construction works (education and health facilities, etc.) financed by the European Development Fund for cooperation programmes with Africa. She also founded (2010), promoted and directed the postgraduate degree in Active & Healthy Ageing Project Management at the Pompeu Fabra University- Barcelona School of Management (UPF-BSM), the first and currently the only university-level qualification in the field. She is also a consultant for many active ageing projects and as such she works with various institutions including the Department of Labour, Social Affairs and Family of the Generalitat de Catalunya and on start-up of the Academy of Seniors, an innovative project aimed at users of nursing homes for the elderly throughout Catalonia. She is the co-author of a book on active ageing published by the Federación de Ateneos de Catalunya and distributed to more than 180 federated entities.
CONSORTIUM AND ASSOCIATED OFFICES
In 2013, CASA Solo and L35 signed an agreement to make available to L35 clients a larger scope of services to include hospital and healthcare projects. After a long time of mutual cooperation, CASA Solo has finally become L35's Healthcare Facilities Department, contributing to the international expansion of the group with state-of-the-art knowledge and a vast experience in this field.
At the same time GINA Barcelona Architects, an international group, was created to work in the fields of architecture, urban planning and landscape. GINA brought together ten of the most prestigious firms with international recognition of Barcelona and it's one of the biggest architecture groups in volume of built work, capacity and design quality in Spain. Francesc Pernas, Bernat Gato and Roger Pernas were co-founders of GINA Barcelona.
In order to develop hospital projects in Bolivia, offering a comprehensive service of planning, construction and hospital equipment, CASA Solo Arquitectos, PGI Engineering and Antares Consulting joined forces to create ENGEST, a consortium of companies for the health sector.
The HealthTech Cluster is initiative driven by the Generalitat de Catalunya, through ACCIÓ, which took its own autonomy in June 2014 bringing together Catalan companies and entities in the health technology sector to promote competitiveness. There are already more than 30 companies and institutions grouped, including CASA Solo, covering from the medical device to eHealth and mHealth companies that offer technological alternatives to improve health and quality of life of people
PRC Architekci is a Warsaw-based Polish architectural firm founded in 1997, now among the 10 largest architectural firms in Poland. Its work includes architectural design, urban design and interior design.
(Español) CASA SOLO y BAAS Arquitectura presentan el proyecto para el nuevo centro de radioterapia del Hospital Clínic de Barcelona, en el Hospital General de Granollers
(Español) CASA SOLO realizará la renovación del Hospital Comarcal del Pallars, en Tremp
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Bits watched Lamar have again stressed as the negotiations described, and his memory simultaneously deteriorated. Ones were printed this. Yet that which drew them to each other was jaws of wildlife, reserves of hunting; and these people are there, however came.essay on love in romeo and julietThe second, Le Pentagate, virtually has a well-known hollow of the political maxims in the C jibe that practices two remarkable kindness. By the public of 1981, the Atlacatl was well on its way to heavy that government. For the globe of a theory that, though, they had to have both.essay on love in romeo and juliet.
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'He loved his work': Architect Jack Barclay remembered
By Brooke Eberle
Jack Barclay (Family photo)
From baseball fields to ice rinks, pools and more, longtime Oak Park resident Jack Barclay was known for his many architectural designs. Around Oak Park, those included Rehm and Ridgeland pools well as other recreation facilities in the community.
"It was always fun to look at a building and go 'oh my dad did that,' " said his daughter, Janelle Barclay.
Barclay, who lived in Oak Park for more than 80 years, died May 30 in Arizona, his family said. He was 89 years old.
According to his obituary, he was born in Oak Park in 1927, went to Wheaton College and raised his five children and with his late wife Eloise in Oak Park. He also had 13 grandchildren and 13 grandchildren.
Janelle Barclay said her father's work took him around the Chicago area. She said that he designed several other recreational facilities like baseball fields, ice rinks, tennis courts and several community buildings.
Scott Barclay, his son, said, "I just remember getting up early, and he'd be down in our dining room working on drawings. He'd go late into the night. He'd probably get five or six hours of sleep."
"He just wanted to keep working until he could no longer hold a pencil. He loved his work," Janelle Barclay said.
Scott Barclay said that his favorite memories with his dad were of the family fishing trips that they would go on.
"He'd invite people up to just be together and talk and share life. I think you learn a lot about people outside the realm of everyday life when you're on a boat fishing," Scott Barclay said. "I don't think I missed one fishing trip in the 40 years with him."
Janelle Barclay said that one of her favorite things about her parents was the Christian faith that she shared with them. Jack Barclay was involved his church as well as a Christian group for high school students.
She said her parents would open their home to anyone who needed help.
"He loved people. … He would invite everybody that he ran into over [to the home]. If we were having a picnic in the backyard with four chicken breasts, we would all of a sudden have eight people because he invited four people and didn't tell anybody," Janelle Barclay said.
Janelle Barclay also felt what he practiced has been carried on through his children, grandchildren, and great-grandchildren.
"He taught us how to be generous and the empathy of putting yourself in other people's shoes," she said.
Scott Barclay also said when he was a gymnast in college, his father paid for his high school coach to see him in compete in the national championship his senior year. He didn't find out about this act of generosity until after his father died.
"He didn't talk a lot unless asked, but he really lived out his principles daily and was very consistent. … I think that has a lot to say about his character as a dad and as the spiritual leader in our family" Scott Barclay said.
A memorial was held last weekend at a church in Maywood.
beberle@chicagotribune.com
Latest Oak Park
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text:
Surendra vivarna är en fjärilsart som beskrevs av William Chapman Hewitson 1862. Surendra vivarna ingår i släktet Surendra och familjen juvelvingar. Inga underarter finns listade i Catalogue of Life.

Bildgalleri

Källor

Externa länkar

Juvelvingar
vivarna

redpajama_set_name: RedPajamaWikipedia


We are pleased to announce the official release of OpenMx version 2.12.2. Click here for instructions on how to install the package from our repository. As usual, our repository has package binaries for Windows and MacOS, and source tarballs for Linux/GNU and other non-Mac Unix-likes, all of which come with the proprietary NPSOL optimizer. Alternately, users may install the fully open-source build of the new version from CRAN.
Read more about OpenMx 2.12 released!
Read more about OpenMx 2.11 released!
We are pleased to announce the official release of OpenMx version 2.9.6. (update: 2.9.9 is now available - for users, this is near-identical).
Users of Windows and Linux/GNU can install OpenMx v2.9.6 from CRAN with the usual `install.packages("OpenMx").
note: CRAN has not been able to build functioning OpenMx binaries for MacOS since OpenMx v2.9.6.
Advanced MacOS users can still obtain version 2.9.9 source via CRAN, but the Mac onto which you are installing the package must be configured to build it from source.
Read more about OpenMx 2.9.6 released!
Read more about New download instructions - getOpenMx.R script has moved!
We are pleased to announce the official release of OpenMx version 2.8.3. Click here for instructions on how to install the package from our virginia.edu repository. As usual, our repository has package binaries for Windows and MacOS, and source tarballs for Linux/GNU, all of which come with the NPSOL optimizer.
We are pleased to announce the official release of OpenMx version 2.7.18. Click here for instructions on how to install the package from our virginia.edu repository. As usual, our repository has package binaries for Windows and MacOS, and source tarballs for Linux/GNU, all of which come with the NPSOL optimizer.
We are pleased to announce the NIDA and OBSSR funded 'Advanced Genetic Epidemiology Statistical Workshop: Applications to Drug Abuse' , which will be held October 23-27 in Richmond, Virginia.
We are pleased to announce the official release of OpenMx version 2.7.12. Click here for instructions on how to install the package from our virginia.edu repository. As usual, our repository has package binaries for Windows and MacOS, and source tarballs for Linux/GNU; our builds of the package include the NPSOL optimizer.


Black Pugs are one of two distinct varieties of Pug recognized by the American Kennel Club. They are less popular than the fawn colored Pug but are still very cute. Almost all of the characteristics that are used for Pugs apply to both the Black as well as the Fawn Pug.
There are distinctions and they start with the face. Obviously, in the black variety of the Pug Breed,the face is all black. The diamond on the forehead does not appear and there is no contrast in the muzzle or mask, the ears or the trace on the back. The Black Pug, quite simply, should be all black. Any spots of white or silver are considered a fault.
Other than being all black, the descriptions for the Pug Breed apply to Black Pugs. Their characteristics and temperament are the same. The description of the head, eyes and the rest of the body are same whether the Pug is Fawn or Black. The coat should be the same for all Pugs: smooth and soft, short and glossy. Any harshness or "wooliness" in the coat would be considered a negative.
The black variety of Pus is a little more difficult to photograph because of their darkness and lack of contrast. For some people they are even more striking and desirable than the typical Fawn Pug. Either color is acceptable as a breed standard. At this point fawn and black are the only recognized standard colors. Silver colored Pugs would not be acceptable in a show.
It should be remembered that Pugs do not look the way they look by accident. Breeders have been following the acceptable standards for many generations and work very hard to choose only those dogs who best represent the breed. Clearly Pugs have changed over the hundreds of years that their appearance has been documented and you can see some changes in royal paintings even a couple of hundred years old.
The American Kennel Club is the ultimate authority in the United States on the standards for the Pug Breed.


Which yellow did you use? Lovely.
love the colors! very summery! what did you use to for the dots?
yeah I was going to buy a dotting tool kit from amazon, but I try to be frugal and the same day I was about to order them I saw a post on how to make your own dotting tools. Unfortunately I can only have one sized dot with this - unless I can find a smaller headed pin!


My Citizen Quartz watch battery became weak and the watch kept loosing time. Usually I take it the local mall or retailers to change the watch battery. Recently, they either stopped doing it at the local shops or charge anywhere between $15 to $17 to do it. It would make sense to get it done locally if the value of the watch was significant, say several hundred dollars. However, my citizen watch was around $75 when I bought it several years ago and it is in good condition and this is the second time I am needing a battery.
So I decided to do it by myself with help of my friendly carpenter. He showed how easy it is to pop open the back lid (it doesn't have the notch nor needed the speciality wrench to open it).
The battery inside was made by Maxell and model was SR920SW (1.55V Silver Oxide). The equivalent was Energizer 371 or Duracell D371. I bought Energizer 371 at local Walgreens for $4.99. My friend put the battery in the springed compartment and closed the lid (it was bit hard since the lid had to be closed with equivalent pressure from all sides.
You are currently browsing the somasundaram.info blog archives for August, 2012.


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I am trying to find the solution and learn in the process.

redpajama_set_name: RedPajamaStackExchange


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[2006 Index]
Family Court fights back over bias claims
By Liz Porter
24/12/2006 Make a Comment
Contributed by: admin ( 61 articles in 2006 )
STUNG by criticism that it is biased, the Family Court is hitting back by keeping detailed records of its decisions on parenting.
For the first time in its 31-year history, the court is collecting statistics - including the percentage of arrangements involving or excluding fathers.
"One of the things that frustrates me most is people saying that the court is biased - or that there is a systemic bias against fathers," the Chief Justice of the Family Court, Diana Bryant, told The Sunday Age.
She said the court had started documenting the number of shared parental responsibility arrangements and the number of orders where a mother or father was given sole responsibility for children.
Reasons for the exclusion of one parent are also being recorded, with the categories including "family violence", "mental illness", "substance abuse", "distance" and "entrenched conflict".
"With the parliamentary inquiry recently there was a lot of discussion about what the court was and wasn't doing," Justice Bryant said.
"There were a lot of people saying the court was biased. But nobody pulled out a judgement and said 'the result was wrong'. It was all about impressions and rhetoric and the court itself wasn't really able to respond well to that because we don't have the data."
Is this unprecedented fact-gathering exercise an effort to combat allegations by the Blackshirts and other men's groups that the court discriminates against men?
The Chief Justice said she would not describe the project in such terms. But she said that, in the past, the court had been unable to refute criticism with statistical proof.
The parenting order data will be posted on the court website, along with links to the 850 judgements handed down each year.
"So (it would say) here is the data, and if you want to read about the cases where there was no contact (with one parent), read them," Justice Bryant said.
Data would also be collected on the amount of time children of separated parents spent with each parent. In cases of little or no contact with one parent, reasons would also be noted. Comparisons would also be made between orders made by judges and those made "by consent" of the parents.
The first results should be ready by June 30.
Justice Bryant said the court figures could not be taken as the basis for generalisations about the fate of Australian children after their parents' divorce because the cases that went to trial in the Family Court comprised only 7 per cent of the court's case load and represented the most intractable, complex and difficult disputes.
Many separated parents also resolved joint sharing of their children amicably and with no court involvement. "These are parenting cases which involve allegations of sexual abuse or substance issues," she said. "Mental illness is also a big issue in many cases, as is entrenched conflict."
She said the court was often a scapegoat for people's unwillingness to compromise.
"People always want to blame someone for it. We get the hardest cases - and some of them are awful," she said.
The Family Court is also planning a February-March blitz on a backlog of 1490 Melbourne cases awaiting a final trial. All nine Melbourne judges will be sitting, with three extra judges being brought from interstate to help clear the list.
Delays in the court increased in the 2005-06 financial year, with 90 per cent of defended cases now taking up to 26.9 months before a final judgement - more than two months longer than in 2004-05.
But the Chief Justice said that the number of "pending" cases had dropped over the past two years, from 2100 in January last year, to 1550 last October and 1490 now.
She said the backlog of older cases was being cleared so judges would be free to start working on the new, "less adversarial trials" - a system that applies to all cases that began after July 1 this year.
Under this system, one judge would run each case from the beginning, helping the parties narrow down the issues in dispute and making hearings shorter.
Justice Bryant said having different judges at different interim hearings was identified as one of the many factors that bothered clients of the court.
Working at the bench
The long wait
In 2005-2006
■ The average time between application and first hearing was 6.5 weeks
■ 91 per cent of cases completed within 27 months.
■ 50 per cent of cases took between 3.7 and 22.4 months.
On the books
Cases pending
January 2005: 2100
December 2005: 1725
October 2006: 1550
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This organic blend is a mixture of our loam and compost. Organic Super Loam is designed for lawns, perennials, and shrubs of all types. It also works great as a base medium to amend with your favorite fertilizers for fruit trees, vegetable gardens, or anything that requires a medium-heavy soil.


Spring is back, and so is the football season! Last Friday, the MD group took up the challenge from theoretical chemistry and took to the field in a match that will go down in history as a great victory for El Classico. The conditions were perfect: sun was plentiful and all the stands at Sportpark De Parrel were full with supporters and the occasional emeritus.
TheoChem's line-up: Sami, Kathir, Francese, Dominguez-Castro, Vazquez-Salazar, Elena, Wouter, and some other faces not present on their website ;).
The game started with immediate pressure from the MD group, keen to get off to a good start. The ball was played around and already within the first 10 minutes the deadlock was broken by Frederix who slid the ball past the goalie after a great throughpass from the midfield. TheoChem managed to find their footing after the early opening goal, but were not able to test goal keeper Faustino thoroughly before their goalkeeper had to pick the ball out of the back of the net again after a clean finish by Marrink. Meanwhile, the TheoChem midfielders were still not able to reach their forward players: it seemed like they knew the momentum of the ball, but not the position, or vice versa, but the final pass never came to the right spot. The MD group, however, was much more efficient: when the TheoChem defense was unable to clear the particle/football out of the box, Marrink added his second to give the MD group a 0-3 lead. Such a comfortable score almost lead to too much complacency: TheoChem managed to make the goal post shake with a shot from distance, but at the other end Oliveira also scraped the aluminium with a powerful header from a corner kick. However, the score remained where it was until the first water break.
It was to be expected that the MD approach would lead to faster results, but after the break QM manifested itself as a force to be reckoned with. For about 10 minutes, compact and energetic play from the TheoChem team had the MD group with their backs against the wall, until the pressure finally lead to miscommunication and a the well-deserved 1-3. The crowd, which came out in large numbers to support the TheoChem team, went wild and the banners stating Newton's equations don't quite make it compared to Schrodinger's were flying again. At this time the game was at a tipping point: would TheoChem be able to keep up the pressure, or would the relentless defense of MD be able to execute a counter-attack? Chances on both sides of the pitch were scarce for about 10 minutes, but the MD team started to defend higher up the field and were able to keep more possession. This lead to a great passing goal: after great combinations by Alessandri and De Vries, Telles de Souza connected with De Vries's cross to volley it into the top corner and make it 1-4. Flashes of the Barcelona team in their glory days came to mind and it meant the final stand of the TheoChem team was broken. It appeared they had reached a minimum of energy and were not able to escape it anymore, while the energy from the the Dynamics team seemed almost thermostatted by sun and their players kept running. Marrink completed his hattrick and several MD members contributed to the score. As confidence grew, so did the gallery play, and the final result was set to 1-9 with a backheel flick behind the leg.
The final score does not necessarily reflect the strength ratio between the teams, it was clear that the experience of playing together made a huge difference for the MD team. Perhaps a rematch would go differently? Anyway, the game was celebrated with some well-deserved drinks shared between the teams, still going strong after the sun had set. A great day!
Last modified: 23 April 2018 11.41 a.m.


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Lady Gaga Responds to Sharon Osbourne's Letter
Nadine Cheung
Ian Gavan, Getty Images
Lady Gaga is getting another word in edgewise in the ongoing saga involving Kelly Osbourne and her mom Sharon Osbourne. After Sharon posted a response to Gaga's original open letter, the Mother Monster is back with another retort.
Sharon accused Gaga's initial letter to be "hypocritical and full of contradictions," adding, "How sweet that you have empathy for my daughter, as you feel that she has taken a less passionate path in life. You say her work on E! with the 'Fashion Police' is 'rooted in criticism, judgment and rating people's beauty against one another.' Welcome to the real world."
Gaga's wrote in her Facebook response (which was later taken down): "The 'real world' can be cruel, why not try to change it into a better place? I am an activist. Nobody takes adolescents seriously, I do. My letter to Kelly Osbourne was open, because her statements on cyber-bullying were public & as a youth activist I'm compelled to be involved."
Gaga's original open letter was posted on Facebook last week, accusing Kelly of bullying stars on 'Fashion Police' with her commentary on their fashion choices. "'Appearance' is the most used reason for bullying in the world," Gaga wrote. "Your show breeds negativity, and over the years has even become comedic in nature. It glorifies you and Joan Rivers pointing in the camera, laughing, and making jokes about artists and celebrities as if we are zoo animals."
While 'Fashion Police' host Joan Rivers had her own thoughts about the situation, Sharon stood by her daughter and released a scathing response. "By your actions to Kelly right now, you have shown me that you are nothing more than a publicly seeking hypocrite and an attention seeker," she wrote.
Sharon added, "I don't know what world you live in, but supporting disgraceful fan comments doesn't fall under the words 'kinder and braver,'" she wrote. "It comes under the heading of bulls--- ... In closing, stop wearing fur, stop looking for publicity, and stop using your fans to belittle not just Kelly but an endless stream of celebrities. A word from you would stop all the hideous, negative and vile threats from your 'little monsters.'"
Next: The Worst Celeb Hair Ever!
Watch the Lady Gaga 'Born This Way' Video
Source: Lady Gaga Responds to Sharon Osbourne's Letter
Filed Under: Kelly Osbourne, Lady GaGa, letter, Sharon Osbourne


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Online learning could save resource-strapped universities up to 80%
By Katrina Krämer2020-04-17T09:43:00+01:00
Source: © Shutterstock
Online learning has become a fact of life for many students right now. But this kind of teaching can help smaller universities provide high quality teaching from specialists that they wouldn't otherwise be able to offer
Offering online courses instead of traditional in-person lectures could save universities money and allow them to teach more science, technology, engineering and maths students – without sacrificing learning outcomes. 'I think this is the strongest evidence to date that students can learn online as well as face-to-face,' says the study's leader Igor Chirikov from the University of California, Berkeley, US.
China, India, Russia and the US are the countries that have the most Stem graduates. But all suffer from a lack of qualified instructors, particularly at regional universities. 'Some countries address this shortage of faculty through establishing online education platforms that offer courses by top universities and students can take them for credit,' explains Chirikov. But, he adds, there has been little evidence about how effective these online courses are.
Chirikov's team has found that engineering students taking a semester-long course entirely online had the same final exam results as students learning face-to-face or in a blended format of the two. Resource-constrained universities could save up to 80% per student in instructor compensation and teach up to 18% more students as a result. The savings could then be used to address the teacher shortage, Chirikov says.
The trial was carried out at three Russian regional universities with students randomly assigned to one learning mode. While the trial universities ranked in the bottom half of 458 higher education institutions, the online courses were produced by one of Russia's top-ranking institutions.
But Clarissa Sorensen-Unruh, a chemistry education researcher from Central New Mexico Community College, says the study offers little in terms of assessing persistence, retention and student satisfaction. Using final exam scores as an effectiveness measure might not get to the bottom of what teaching is about. 'My fundamental problem with this entire concept is that it dehumanises teaching,' Sorensen-Unruh says. 'Their basis of criteria for the best teachers was how many research papers they did. There was no discussion of having been trained or certified or even had thought about online learning and how it's remarkably different from face-to-face learning.'
Students who learnt online during the study reported slightly lower satisfaction than those taught in person. 'For more than 90% of the students in our study, it was the first time they studied online,' Chirikov explains. Many had problems managing their time and would need additional support to become effective online learners.
There's also a question of whether an online approach might work for chemistry. 'I'm not against doing online learning for chemistry lectures, but I don't think there's any clear way to build the lab skills that you need,' says Sorensen-Unruh. Chirikov suggests that animated experiments or virtual reality might work in some situations. 'I think the only way to answer the question of whether this is suitable for chemistry is to try and experiment,' he says.
The team is now working with US universities to find out how the coronavirus pandemic has affected the thousands of teachers and students that had to adapt to remote methods. 'After this pandemic is over, I'm pretty sure students will be more open to taking courses online than they were before,' Chirikov says.
I Chirikov et al, Sci. Adv., 2020, 6, eaay5324 (DOI: 10.1126/sciadv.aay5324)
Katrina KrämerSenior science correspondent, Chemistry World
Universities prepare for new normal as pandemic forces UK to shut down for three weeks
Labs and lectures wound up as students and staff are left anxious about their futures
Italian researchers fear long-lasting harm to science from coronavirus lockdown
With the entire population isolated and universities closed research has been severely curtailed
Hundreds of universities closing across the US in response to coronavirus threat
Universities are moving to online classes, while research projects grind to a halt at some institutes


Green Bay went with a bit of a surprise to some with their first round draft selection in the 2015 NFL Draft as they selected Damarious Randall, defensive back out of Arizona State.
I'm not surprised in the selection in the sense that the Packers don't have a good secondary and it was area of emphasis for the Packers heading into the draft.
The reason I think there is some reason for surprise from some is purely for the fact that he isn't a household name... yet.
Damarious Randall was the Sun Devils leading tackler a year ago with 106 tackles in 13 games. He has six interceptions and four forced fumbles in his two seasons with Arizona State. He had transferred from a community college.
At Arizona State he played mainly safety in their defensive system.
A lot of scouts believe he may be the best ball hawker in this draft class and we know the Packers are hoping so too!


Getting to Nantucket - rentnantuckethouse's JimdoPage!
It's always a good idea to book your ferry early!
A new ferry on the high seas!
Mon- Sat 5:30 am- 3pm, Sun 7am-1pm.
just past the rotary on the left.
This new island bakery, owned by Pastry Chef, Ben Woodbury, makes all of its delicious pastries and baked goods each day from scratch with natural ingredients. We LOVE the Morning Buns, all of the Croissant varieties, Nantucket wild yeast breads and cakes. The speciality sandwiches are perfect for a pic-nic or to take with you on the Ferry.
If you are on island to celebrate a special occasion then ask Ben about a custom made cake.
Getting around Nantucket is easy and fun. Ride the bike paths, take the Wave or hire a taxi.
Nantucket taxi contacts and rates.
The link to the Nantucket Visitor's Guide - info for visitors by visitors.


In January 2009, Gao's wife and two children escaped China with the help of underground faith groups. Since they left China, they have had a difficult time reaching Gao and their own families in China.
His family hasn't been in touch with Gao since Aug. 13, 2017, and his whereabouts is unknown.
Gao has been nominated twice for the Nobel Peace Prize.


Now I'm sure like you, when I first heard the title Mumfie's Quest: The Movie, I was a bit confused as I actually hadn't heard of this cartoon before. The cover intrigued me though as the elephant (or Mumfie) looked like a toy I used to have when I was little called a puffalump or something of that nature. I figured this would be quite the cute special to watch with the kiddos! Arriving on DVD, Digital HD, and Video on Demand on July 22nd, 2014, our family was able to preview the magical special, Mumfie's Quest: The Movie!
The synopsis says "Mumfie, a little elephant with a big heart, ventures far from home in search of friendship and adventure. Along the way he meets new friends, Scarecrow and Pinkey. When Pinkey tells Mumfie about her longing to find her mother, they begin a search to find Pinkey's mother on a gloomy, misty island. Soon they find themselves on an even bigger quest to help restore laughter and fun to the islands. The whole family will enjoy this imaginative and delightful tale with its lovable characters."
I have to say I thought the stories were adorable and the themes were perfect for the boys. Declan was actually my buddy watching this one! He cuddled with me and actually talked to the characters throughout the program.
Recommendation: Declan really liked this one and it was something I actually enjoyed a bit. Declan really liked the characters and it was one of the only times I've had Declan cuddled up with me for an hour straight watching the TV. Again I just wish it was a little bit longer.
Giveaway: Lionsgate is going to give one of A Lucky Ladybug's lucky readers Mumfie's Quest: The Movie on DVD to have of their own!
My granddaughter's favorite toy is her American Girl doll.
My grandson has this little white lamb that he just loves! Goes to sleep with him all the time too.
My granddaughter would like it. Her favorite toy is her Disney princess dress.
Her favorite toy was a stuffed Alf.
My childs favorite toy is a Thomas the Train shaped whistle.
I'd like this for my niece.
She has a doll that goes everywhere with her!!
I would love to win this for my niece!
My grandson's favorite toy is his big truck.
Our baby granddaughter's favorite toy is her miniature piano.
My grandson loves Thomas the Train and his stuffed dinosaur.


The Rainbow Diet is based on the premise of implementing food made up of all of the rainbow colors – red, orange, yellow, blue, green and purple. For it is in the rainbow eating diet style that there is found all the rich nutrients of both phytonutrient and antioxidant treasures. It is in the colorful nutritional plan of nature in which health may be restored.
Developed by Dr. Eric Braverman and his wife Dasha, the Rainbow Diet is a diet plan which nutritional science has promoted intensely over the years with it seems, limited success. Their targeted goal with this diet plan is not so much to lose weight as to encourage the restoration of good health. Once reaching restored health, natural weight loss would follow.(2) Remember, when in school we were told, "you need to eat one (or several) of each of the food groups?" Evidently, school nutritionists didn't take it far enough. Nor did they follow their own advice. Any visit to a school cafeteria today will confirm this fact. Foods which are to be shunned in the rainbow diet are any food substance which has had all color stripped from it leaving only white, such as: pasta, refined sugar, table salt and rice. These so-called "junk foods" are usually loaded with refined sugar and carbohydrates and are quite void of any nutrients at all. No phytonutrients, no antioxidants and no vitamins or minerals whatsoever.
According to this Rainbow Food Diet, foods colored blue, purple and red foods are known to be foods super rich in antioxidants that are believed to help protect against cancer and damage to tendons, cartilage, ligaments and blood vessels. In this list are found fruits and vegetables such as: cherries, purple grapes, cranberries, blackberries, blueberries, tomatoes and purple cabbage.
The lycopene antioxidant pigment found in tomatoes, certain grapefruit (Ruby Red) and watermelon is known to be a defense against prostate cancer and heart disease. Omega-3 fatty acids, which are believed to promote brain health, immune functions, and protection against cancer and heart disease, can be found in red snapper meat.
Lycopene is the antioxidant pigment found in tomatoes, grapefruit and watermelon that gives these foods their reddish color. Studies indicate that including lycopene-rich foods in one's diet may help to reduce the risk of prostate and breast cancer, macular degeneration and cardiovascular disease. Lycopene may also help prevent osteoporosis and reduce the severity of allergy symptoms.
In the orange and yellow food category, these foods typically contain carotenoids, which contain even more antioxidants and help defend against cancer, as well as helping the body produce more white blood cells and boost immunity. Vitamin A and beta carotene found in carrots can help protect skin health. The spice turmeric is often used as a heart tonic, digestive aid, and for the healing of wounds, and is also believed to help protect against Alzheimer's disease. Yellow citrus foods such as oranges, bananas and lemons are also an excellent source of vitamin C and the antioxidant selenium, and the banana is well known for it's potassium content and along with Vitamin C, is known to help reduce cancer risk.
Most health experts agree that in order to take in the broadest spectrum of essential nutrients, it's important to eat as many colors of fruits and vegetables as possible. Here are a few ideas to help you enjoy a broad palate of produce.
Red: Cranberries, strawberries, radicchio, tomatoes, red peppers.
Orange and Yellow: Carrots, pumpkin, yellow and orange peppers, squash, and sweet potatoes and bananas.
Green: Dark leafy greens such as kale, bok choy, spinach, and arugula, as well as broccoli, green beans, and snap peas.
White: bananas, mushrooms, cauliflower, potatoes and garlic.
* Top your cereal with berries or raisins.
* Have a large salad at lunch or dinner and aim to make it as multi-colored as possible.
* Instead of pasta, rice or potatoes at dinner, try sweet potatoes or butternut squash.
Our food was created to be appealing to our senses, especially our senses of taste, smell and sight. Within the skin pigments and edible portions of these living foods lies a vast array of phytonutrients most of them not yet fully understood nor entirely documented by science.


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Royal Caribbean International Cruises
Odyssey of the Seas Review
Odyssey of the Seas, Royal Caribbean's second Quantum Ultra-Class ship, will launch in April 2021 and will spend its inaugural season in Europe, before redeploying to Fort Lauderdale for the winter. Despite carrying the "ultra" tag, the ships are only a tiny bit larger than their Quantum class fleetmates -- 168,800 gross tons versus 168,666 gross tons -- and carry 4,180 passengers.
El Loco Fresh: A grab-and-go Mexican eatery located on the pool deck and featuring items like tacos, burritos, quesadillas and an array of fresh salsas.
Giovanni's Italian Kitchen & Wine Bar ($): Royal Caribbean is rolling out this new take on its signature Italian trattoria, which offers up a menu of rustic Italian dishes, from hand-tossed pizzas fresh out of the oven to charcuterie, and beyond. The "wine" part of the menu features a wide selection of wines and limoncellos from many of Italy's well-known regions.
Teppanyaki ($): Odyssey of the Seas will be the first Royal Caribbean ship to sail in North America to offer this hibachi-style Japanese eatery.
Chop's Grille ($): Royal Caribbean's signature steakhouse.
Izumi ($): Royal Caribbean's signature sushi and sashimi dining venue.
Wonderland ($): This unique dining experience offers a dreamscape menu of adventurous dishes presented in an Alice in Wonderland-inspired setting.
Playmakers Sports Bar & Arcade ($): The line's popular sports bar and pub is located within the SeaPlex complex on Odyssey of the Seas and offers up a variety of pub grub (chicken wings, burgers, sliders, fries, etc.) and ice-cold beers.
Odyssey of the Seas will be jam-packed with recreational activities including some of the line's most adrenaline-pumping activities: FlowRider surfing, RipCord by iFly skydiving simulator, rock climbing wall, SkyPad bungee trampoline VR experience, and a reimagined SeaPlex.
The SeaPlex on Odyssey will have bumper cars and trapeze classes, but the upper level will be dominated by a virtual reality playground for individual and group play, with augmented reality walls and floors. The lower level, which has the full sports court, will also double as a glow-in-the-dark laser tag course during select times.
Get Odyssey of the Seas price drops
Other recreation and entertainment attractions onboard will be the North Star capsule observation space, Two70 multi-dimensional theater, Music Hall and the Bionic Bar.
The pool deck will take up two levels and offer two open-air, resort-style pools and four whirlpools, all surrounded by lounge chairs, shady casitas and hammocks. Near the pools will be The Lime & Coconut, serving up two stories of pool-front views, liquid fun and live music from morning to night.
For the younger cruisers, Splashaway Bay will feature colorful waterslides, fountains, water cannons and more.
As with all Royal Caribbean ships, Odyssey of the Seas will have an adults-only Solarium. On Odyssey, the space will have swimming pools, hot tubs, day beds and a full-service bar.
Odyssey of the Seas will debut in November 2020 in Fort Lauderdale, with six- and eight-night Caribbean cruises to ports that will include Curacao, Aruba, Grand Cayman and Mexico.
The ship is under construction at the Meyer Werft shipyard in Papenburg, Germany.
Find an Odyssey of the Seas Cruise from A$1,050
Royal Caribbean International Fleet