text:
Chronic triiodothyronine supplementation does not improve the lipoprotein disorders of mildly uremic rats
B. Lacour, Jean-Baptiste Roullet, Y. Ricordel, T. Drueke
The present study was performed to appreciate the potential role that thyroid deficiency could play in the energy homeostasis and lipid metabolism of experimental chronic renal failure. For this purpose, 12 uremic rats that were supplemented with T3 (0.4 μg/100 g body weight/day) during 5 weeks by means of osmotically driven minipumps were compared to 12 unsupplemented uremic rats and 12 control rats. The chronic supplementation of uremic rats with T3 induced no significant change in body weight gain or in the serum concentration of insulin, glucose, glycerol, nonesterified fatty acids, total triglycerides (TG), total cholesterol, and total choline phospholipids. Similarly, the metabolism of TG-rich lipoproteins was not affected by the supplementation with T3 in these uremic rats as appreciated by TG production or TG degradation (adipose tissue lipoprotein lipase activity). T3 administration induced a significant decrease in serum β-hydroxybutyrate concentration and an increase in serum lactate concentration. Furthermore, heparin-releasable hepatic TG lipase activity as expressed per total liver mass was decreased in uremic rats treated with T3. The latter changes were observed in the absence of modifications of serum glucose or TG concentration. We conclude from these observations that rats with a moderate degree of chronic uremic do not seem to have a cellular thyroid deficiency sufficient to disturb their energy or lipid metabolism.
Triiodothyronine
Lipoproteins
Hydroxybutyrates
Lipoprotein Lipase
Lipase
Chronic Kidney Failure
Lacour, B., Roullet, J-B., Ricordel, Y., & Drueke, T. (1987). Chronic triiodothyronine supplementation does not improve the lipoprotein disorders of mildly uremic rats. Nephron, 45(2), 129-134.
Chronic triiodothyronine supplementation does not improve the lipoprotein disorders of mildly uremic rats. / Lacour, B.; Roullet, Jean-Baptiste; Ricordel, Y.; Drueke, T.
In: Nephron, Vol. 45, No. 2, 1987, p. 129-134.
Lacour, B, Roullet, J-B, Ricordel, Y & Drueke, T 1987, 'Chronic triiodothyronine supplementation does not improve the lipoprotein disorders of mildly uremic rats', Nephron, vol. 45, no. 2, pp. 129-134.
Lacour B, Roullet J-B, Ricordel Y, Drueke T. Chronic triiodothyronine supplementation does not improve the lipoprotein disorders of mildly uremic rats. Nephron. 1987;45(2):129-134.
Lacour, B. ; Roullet, Jean-Baptiste ; Ricordel, Y. ; Drueke, T. / Chronic triiodothyronine supplementation does not improve the lipoprotein disorders of mildly uremic rats. In: Nephron. 1987 ; Vol. 45, No. 2. pp. 129-134.
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title = "Chronic triiodothyronine supplementation does not improve the lipoprotein disorders of mildly uremic rats",
abstract = "The present study was performed to appreciate the potential role that thyroid deficiency could play in the energy homeostasis and lipid metabolism of experimental chronic renal failure. For this purpose, 12 uremic rats that were supplemented with T3 (0.4 μg/100 g body weight/day) during 5 weeks by means of osmotically driven minipumps were compared to 12 unsupplemented uremic rats and 12 control rats. The chronic supplementation of uremic rats with T3 induced no significant change in body weight gain or in the serum concentration of insulin, glucose, glycerol, nonesterified fatty acids, total triglycerides (TG), total cholesterol, and total choline phospholipids. Similarly, the metabolism of TG-rich lipoproteins was not affected by the supplementation with T3 in these uremic rats as appreciated by TG production or TG degradation (adipose tissue lipoprotein lipase activity). T3 administration induced a significant decrease in serum β-hydroxybutyrate concentration and an increase in serum lactate concentration. Furthermore, heparin-releasable hepatic TG lipase activity as expressed per total liver mass was decreased in uremic rats treated with T3. The latter changes were observed in the absence of modifications of serum glucose or TG concentration. We conclude from these observations that rats with a moderate degree of chronic uremic do not seem to have a cellular thyroid deficiency sufficient to disturb their energy or lipid metabolism.",
author = "B. Lacour and Jean-Baptiste Roullet and Y. Ricordel and T. Drueke",
journal = "Experimental Nephrology",
T1 - Chronic triiodothyronine supplementation does not improve the lipoprotein disorders of mildly uremic rats
AU - Lacour, B.
AU - Roullet, Jean-Baptiste
AU - Ricordel, Y.
AU - Drueke, T.
N2 - The present study was performed to appreciate the potential role that thyroid deficiency could play in the energy homeostasis and lipid metabolism of experimental chronic renal failure. For this purpose, 12 uremic rats that were supplemented with T3 (0.4 μg/100 g body weight/day) during 5 weeks by means of osmotically driven minipumps were compared to 12 unsupplemented uremic rats and 12 control rats. The chronic supplementation of uremic rats with T3 induced no significant change in body weight gain or in the serum concentration of insulin, glucose, glycerol, nonesterified fatty acids, total triglycerides (TG), total cholesterol, and total choline phospholipids. Similarly, the metabolism of TG-rich lipoproteins was not affected by the supplementation with T3 in these uremic rats as appreciated by TG production or TG degradation (adipose tissue lipoprotein lipase activity). T3 administration induced a significant decrease in serum β-hydroxybutyrate concentration and an increase in serum lactate concentration. Furthermore, heparin-releasable hepatic TG lipase activity as expressed per total liver mass was decreased in uremic rats treated with T3. The latter changes were observed in the absence of modifications of serum glucose or TG concentration. We conclude from these observations that rats with a moderate degree of chronic uremic do not seem to have a cellular thyroid deficiency sufficient to disturb their energy or lipid metabolism.
AB - The present study was performed to appreciate the potential role that thyroid deficiency could play in the energy homeostasis and lipid metabolism of experimental chronic renal failure. For this purpose, 12 uremic rats that were supplemented with T3 (0.4 μg/100 g body weight/day) during 5 weeks by means of osmotically driven minipumps were compared to 12 unsupplemented uremic rats and 12 control rats. The chronic supplementation of uremic rats with T3 induced no significant change in body weight gain or in the serum concentration of insulin, glucose, glycerol, nonesterified fatty acids, total triglycerides (TG), total cholesterol, and total choline phospholipids. Similarly, the metabolism of TG-rich lipoproteins was not affected by the supplementation with T3 in these uremic rats as appreciated by TG production or TG degradation (adipose tissue lipoprotein lipase activity). T3 administration induced a significant decrease in serum β-hydroxybutyrate concentration and an increase in serum lactate concentration. Furthermore, heparin-releasable hepatic TG lipase activity as expressed per total liver mass was decreased in uremic rats treated with T3. The latter changes were observed in the absence of modifications of serum glucose or TG concentration. We conclude from these observations that rats with a moderate degree of chronic uremic do not seem to have a cellular thyroid deficiency sufficient to disturb their energy or lipid metabolism.
JO - Experimental Nephrology
JF - Experimental Nephrology


At SFTEC our students work hard to gain the real world skills necessary to excel on ASE certification examinations. While ASE certification is nationally recognized, in Miami Dade specifically the county requires certification in order to obtain an MVR certification. We provide exam preparation on the topics that will be covered in the A-series ASE certification exams and while a high percentage of our students who take the ASE exams pass, we do not guarantee that everyone will pass. Below are some of the testimonials of some of the students we helped obtain ASE certification.
Sesar Elias was working valet, He knew he wanted to pass some ASE examinations He knew Being ASE certified would help him to move forward in his career. He completed the program in 2015 with a few ASE's passed. Today he is lead tech for Saia one of the largest trucking companies in the world making great pay.
Luke Cartwright came to SFTEC with no ASE's and is now an ASE Master Technician who works on high end exotic cars He currently has 9 ASE certifications.
Gabriel Gonzalez was making ok money each week with a few ASE's, after taking our classes he is now a ASE Master Technician making more than twice that much.
Luis Cedeno was working in auto parts and wanted To be ASE certified. He has passed 7 ASE's so far and is working for Chevrolet.
Was one of our first full time hobby students he Completed our program with 5 ASE and runs a shop on weekends. He loves cars but makes good money doing some thing else during the week.
came to us Needing ASE'S to comply with the county he now holds 4 and is working on more.


text:
HomeFor Clients
Molly Anthony
Deborah Lynn Dilman
Meg Stacy
Elizabeth Belote
Divorce and Finances
Child Custody and Child Support
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Home / Practice Areas / Family Law
Navigating a family law dispute is difficult, but you don't have to do it alone. Legal matters involving your family can affect every aspect of your life: your relationships, your finances, your emotional well-being, as well as your legal rights. At Southpark Family Law, we see every challenge you're facing, and we are committed to helping you resolve them to build the future you and your family deserve.
In North Carolina, you must be separated (defined as living in separate households) for a period of at least one year before you can actually file for divorce. What many people do not know is that before you receive your Judgment of Divorce, you shou… Read More
We know nothing is more important to you than the welfare and best interest of your children. The attorneys at Southpark Family Law also know the importance of a healthy co-parenting relationship. One aspect of that co-parenting relationship is the r… Read More
Divorce is never easy. It's hard on divorcing spouses, it's hard on children, and it's even hard on divorce attorneys who care about their clients. In 1990, a Minnesota divorce attorney named Stu Webb was burned out from the hostility of divorc… Read More
The vast majority of divorces—upwards of 90%—are settled before a trial. That's good news for most divorcing spouses, because trials are contentious and expensive. But if you are at the beginning of the divorce process, you may wonder how on ea… Read More
"Can't say enough good things about Southpark Family Law. A truly dedicated team, they go above and beyond for their clients."
"Molly Anthony is great to work with and truly cares about her clients!"
"I am consulting with Molly about my family law related matter/case and she is extremely knowledgeable, thoroughly researches all questions and ensured all my questions were answered, and gave me extremely sound guidance. She deals with you directly a…"
"I had an excellent experience with Southpark Family Law. This was the first time I had ever been in a situation of needing an attorney and the service I received from this firm…was everything I needed. I was advised of everything happening and what…"
"Ms. Dilman came referred to me from another highly respected local attorney. And she did not disappoint. She immediately listened and was upfront and realistic with her advice and recommendations. She showed depth of knowledge and experience with the…"
"I hired Molly for a prenuptial and even though she was very busy I felt she really gave it her all which was very good. I found her to be thorough, highly knowledgeable, accessible, and professional. I would definitely recommend her as a family lawye…"
"This was my first experience in hiring a lawyer for anything. And this experience was great. I hired them to try and help me get divorced after 4 long years of unsuccessful attempts. They were very upfront with cost, had genuine sympathy, and really…"
"Very caring and helpful."
"I was very pleased with the service I received from this team. Molly was great. She was sympathetic, listened and truly wanted to help me and did not push me to do anything I was uncomfortable with. She took the lead and gave me an accurate cost of e…"
"During the shock, anger and sadness of realizing I needed a divorce attorney, a friend referred me to Deb Dilman. Immediately, during our consultation call, Deb sought to understand my specific concerns and was very clear with me on what to expect go…"
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"I had a great experience with Southpark Family Law. Molly Anthony was very caring, thoughtful and provided HONEST feedback and guidance throughout my divorce. I highly recommend Molly and the firm."
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Every project undertaken by Stonehouse is approached in the same structured manner, however large or small.
We have a proven method of working, so rest assured you and your project will be looked after professionally every step of the way.
Whether you have outgrown current space, looking for a refresh or a complete refurbishment, your thoughts and aspirations need careful consideration.
We will visit your site, ask lots of questions to gain a good feel for what you're looking for.
Brainstorming your vision and allowing us to help advise you is a great starting point.
So, the ideas are flowing and we have an initial brief and understanding of what you want to achieve.
Working with these, we can create a final workspace brief. This is a benchmark against which the success of the project is measured.
From concept design drawings and presentation of product options/materials, we visually bring the best of your ideas together including product and material specification.
Design and specification signed off, it's now down to agreeing costs. Value for money is one of the single most important aspects of undertaking any project. We are honest, transparent and informative in our quotations.
There are no hidden extras and we will challenge where we feel key works are being omitted or overlooked that could hinder the project. Nothing is left to chance; a strength we are regular commended on.
We will commence mobilisation of works in a logical, structured manner to minimise time and keep costs to budget.
Each stage of the project will have time and milestone dates allocated for all aspects of works. We believe in transparency and the free flowing of information to help both you and Stonehouse keep up to speed.
A structured programme of works clearly stating key milestone dates is developed with you highlighting which works are happening when.
With design, quotation and programme issued and approved, you will have the re-assurance to proceed knowing everything is clear and ready to go.
An organised approach and attention to detail will ensure a smooth start and orderly progression of works.
Experienced project and site managers keep tight control of site, sub-contactor teams and deliveries with health and safety being of top focus.
Communication between Stonehouse and you is regular and informative. Reporting weekly progress and attending meetings helps you stay close and in control.
Once completion is achieved we're committed to ensuring last minute additions or snagging works are dealt with promptly so we can hand over your lovely new space as quickly as possible.
Analysis of actual cost verses budget is part of our completion process supporting our desire to review and measure service, delivery and project cost management.
Your thoughts and feedback are hugely important and as such we always welcome client review meetings to share collective experiences.
Handing over your project and leaving you feeling impressed and happy is our greatest reward. We have lived and breathed your project throughout its duration so handover is an exciting time to see the fruits of our labour and the completed space matching perfectly to its intended design.
We see so many clients time and time again having built excellent relationships and a solid reputation for what we do.
We are very proud of our achievements and how our clients feel about us, it makes it all very worthwhile!
If you have a new project on the horizon please give us a call or send us an email.
Careers - Like to join us?
We are always looking for people who believe they've got what it takes to make a difference in our industry and specifically 'for Stonehouse'.
We welcome get up and go; those who want to be successful and who have an array of qualities that shine though from the start.
Our employees are all part of a team that's 'in sync' and who demonstrate the very best skills, knowledge and qualifications to keep us delivering high quality, professional service project after project.
If you enjoy responsibility, are client focused and happy to crack on from day one then we would love to hear from you.


This mural was commissioned by SeaChange Arts for Norfolk District Council in Great Yarmouth. 30 metres in length it was used to cover the hoardings of the St Georges Church as it was being refurbished into a new media arts centre. The theme was a historical one that represented the seaside town.


text:
Articles + Essays
Glasgow Film Festival
Chronicles In Film
A Cinephile's Thoughts On All Things FIlm
Sir Christopher Lee
Im not a big supporter of the Royal Family or knighthoods especially due to the amount to bureaucratic fat cats who have done nothing but fill their own pocket with gold and done nothing for the common man or woman. But the over the last few years more and more normal people and entertainers have been getting recognised and I have some respect for that and in the past few days reading that the iconic Christopher Lee was to be honour I was over the moon.
Along with Bela Lugosi, Vincent Price, Peter Cushing, Christopher Lee is an iconic face of the classic horror movie genre playing his terrifying role as Count Dracula, His iconic roles don't stop there. In 1973 he played the evil Lord Summerisle in the pagan horror Wicker Man, the ecentric Scottish Laird and High Priest of the paganists, but a year later he was to play one of my favourite all time James Bond Francisco Scaramanga in The Man with The Golden Gun, the only bad guy with 3 nipples, his rent free island off China, his own Fairground (I wonder if Michael Jackson idolised him?) and a wakwork with a model of James Bond he used for his cat and mouse games, you cant beat that.
After a string of small budget/ straight to video movies and a load of TV appearances, 2001 Christopher made it back into the light thanks to the Lord Of The Rings: Fellowship of Ring as the backstabbing power Hungry evil sorcerer Saruman. He was angered at the cutting for the Last Lord of the Rings: Return of the king when his character fell foul to the editing table virtually been wiped out the last film, the only way to see his character is through the extended DVD. But in 2002 he played Darth Tyranus in the Star wars franchise attack of the clones, a man who was once Yoda's student Jedi count Dooku and went to the dark side and became Darth Tyranus, he was also to play the role again in 2005 in Revenge of the Sith.
Now 87 years old there is no stopping Christopher Lee, the movie parts and voice parts just keep coming.I've just scrapped the surface of few of his acting credentials but how many actors can say they have played in 4 of the most famous and successful franchises ever (Dracula, James Bond, Star Wars and Lord Of The Rings)? He beats them all, Sir Christopher Lee we salute you.
Originally posted at The Peoples Movies | 14th June 2009
January 6, 2018 February 27, 2018 chroniclesinfilmArticle, Articles, Features, Essays, Horror2009, Dracula, Hammer Films, Lord Of The RIngs, Sir Christopher Lee, The Peoples Movies
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Tasteful refurbishments throughout this exceptional property offers a taste of great Australian living with beautiful, yet simple design elements sure to appease the majority. A stunning and central hall greets guests upon arrival, setting the tone for a classic and timeless layout complimented by beautiful 10 foot ceilings throughout. Family functions will be welcomed in the generous open plan living, dining and kitchen area equipped to entertain the masses.
Alternatively, if outdoor entertaining is more to your palate, the property boasts a large alfresco area overlooking the low maintenance backyard perfect for all weather conditions. A wood fire, ducted evaporative cooling and 3 split systems throughout the home offer all year comfort.
Key features include: 4 Bedrooms (each with bir's); 2 Bathrooms; Open plan kitchen/ living/ dining; Large Alfresco; Shed/garage with power & storage; Rear lane access to backyard & double garage.
With a key location on prominent and highly sought after Gummow Street this home will tick many of the boxes! Considering there is nothing left do do but move in and enjoy, the time to act is now.


Home » Blog » I TURNED 30!
It's official! I am in my 30's! I can't believe how much time flies by. My 30th birthday party was a lot of fun! The Lunch Crew and I went to an awesome Irish pub. Couldn't of picked it better myself!
The pub we were at held weekly turtle races!!! Unfortunately we were one day too early! But we got to have some good food, couple beers and whoop outside the bar, so it was a very great birthday!
My lovely fiance Lorena, got a hold of all of my friends, and they all sent me a personalized birthday video. Then Lorena put it all together and made me an amazing present. It brought a huge smile to my face and tears to eyes! Check out my birthday video here.
Of course there is more to it! Lorena and Platinum went out in a scramble, picked up a cake, made sure the restaurant was ready for us. We got a private room with a big TV, so they even ran to Best Buy to get a cable so I could watch my Birthday video on the big screen! Check it out.
Also don't forget to check out the Kickstarter!


Tehillim29 back again for another Comic Review, this time on DeathStroke, now if people can spend some time away from E3 Conference & the Queens Birthday Weekend, you might be able to enjoy reading a comic.
As we begin into the issue we see Batman once again taking on Deathstroke to stop a Hit he has on The Human Dynamo, who is Ace Masterson at age 82, the discussion between Deathstroke & Batman gets a little heated.
Moving into the next couple of pages we see Slade Wilson with Talia Al Ghul, and also we see Wintergreen too with something he is working on.
As the behavior of both Damian & Talia Al Ghul in this seems to make me think even Talia is playing a game with Deathstroke to play on his Psyche & Damian too, knows how deep his mother plays her games, even this one.
It would be wise if Priest kept to Canon within DC & still show Damian will always be Bruce's Son, with Wintergreen & Pennyworth's parts in this, I also wonder how their team up in this event will turn out.


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The UK's tax regime must be simplified to encourage inward investment
The UK's tax regime should be simplified in an effort to get the UK economy open again.
Robert Pullen said: "Following the unprecedented steps taken by Rishi Sunak to prop-up the economy during the Coronavirus crisis, many are considering how best to get it open again, once safe to do so.
"Part of the solution should involve reforms to the UK tax regime, to encourage more inward investment from private individuals. A key aspect of this might be for HM Revenue & Customs (HMRC) to look again at the taxation of internationally mobile individuals and non-domiciled individuals."
A raft of changes were introduced in 2017 and 2018 to the taxation of such individuals which restricted the availability of the UK's special tax regime for non-doms, known as the remittance basis. This tax regime means that individuals eligible only pay tax in the UK on amounts brought to the UK, such as to purchase a house or to buy a car. The remittance basis has always been popular in attracting individuals to the UK, so much so that many other countries have sought to introduce their own versions (such as Italy).
Robert said: "In order to kick-start the economy, HMRC could loosen the restrictions in this area. For many years, non-doms have had a tax exemption on their overseas income and gains, provided the money is not brought into the UK. However, this has had a knock-on effect of dampening spending in the UK, as non-doms are deterred by suffering UK tax on any amounts brought into the country.
"For a limited time only, from April 2017 to April 2019, the UK Government introduced an opportunity for funds frozen outside of the UK to be restructured and brought to the UK. Whilst complicated, this unlocked a significant amount of capital, which in turn would have begun circulating in the economy, generating profits and tax revenue, such as VAT on purchases.
"One way the Government could encourage a similar spike in spending would be to reintroduce the special regime from 2017, or to bring in a simpler set of rules which allows individuals to remit monies to the UK and pay a flat tax rate, of say 10%."
Adam Smith said: "The UK needs to strike the right balance between raising revenue through increased taxation and maintaining the competitiveness of the UK in the global market.
"Some years ago, the US introduced a one-off tax for US companies to repatriate funds from abroad to the US, when previously there would have been penal tax charges. This was a huge success as it provided the IRS with a significant boost and served to put that money back into the US economy, when otherwise it would have been stuck offshore."
Adam also highlighted that many international individuals, who often continue to be taxed in their 'home country', particularly the US which has worldwide taxation for citizens, are put off by complicated double tax agreements.
He said: "Simplifying the way double tax relief works in the UK could prove to be a very popular way of encouraging inward investment – even if that results in a small 'top-up' payment being required to HMRC."
Robert concluded: "Whilst there are some reliefs already available for non-doms to bring money into the UK, notably Business Investment Relief, it is generally accepted that the relief and the associated qualifying criteria are far too complicated. This relief should be simplified, and where not available, the flat tax referred to could be introduced."
If you would like to discuss any of the above or have other queries about how you can make the right decisions for the future of your business and your income, please contact your usual Blick Rothenberg contact.
You can also visit our Coronavirus – Practical Guidance for businesses today Hub for our latest updates and insights.
Robert Pullen
View Robert's profile


Metal additive manufacturing (AM) technologies present great opportunities for current and future manufacturing. Their impact on new product development, product quality and manufacturing costs can be significant for the right applications. Their digital and layer-wise attributes also have the potential to significantly improve supply chain dynamics and shorten delivery lead times. Using AM technology, manufacturers can produce parts on demand in locations that can be chosen to minimise transport or feedstock costs .
With its digital-only input, AM is geographically-independent. Production is not restrained to the location and availability of a manufacturing chain. Instead, the location can be chosen to minimise the transport costs of the end parts or based on the availability of a locally sourced suitable feedstock. The digital file can sent digitally and built anywhere.
AM is a 1-step production technique. Although some form of post-processing is usually required, industrial machines do not rely on tooling to produce parts. Compared to more conventional manufacturing, the benefits for AM is a shorter delivery time, reduced setup as well as significantly cut down changeover times and costs.
A key incentive to use AM is its design freedom. Components built using AM technologies can be specifically designed to minimise assembly and improve parts functionalities. This greatly reduce operational costs, manufacturing steps and delivery schedules.
The result is that one-off parts, such as decommissioned parts, slow moving parts of high value equipment (planes, ships…) can still be produced at comparatively low costs. AM allows the manufacture of parts in cases where production methods/chains have disappeared, eliminating the need and costs to store them.
With its layer-wise deposition, AM produce net-shape or near-net-shape components and uses selective material deposition for an efficient material usage. As long as the AM machine is setup with the suitable powder, building ad hoc components doesn't require sourcing additional feedstock, or planning of additional tooling.
The digital input files for AM can be made available anywhere in the world an dproduction location chosen to reduce internal or external logistic costs.
AM can lead to standardisation of production chains that are traditionally regarded as more manual and craft-based. Regardless of world locations or number of batches required, the AM standardize logistic operations, in which the raw material, equipment and production requirements are the same at all production locations, leading to greater control over product quality.
Adopting AM allows the production of customized parts in batches: think of it as multiple variant of one product built simultaneously. This saves handling and manual customising tasks while multiplying outputs.
AM is slowly but significantly improving the manufacturing environment. Using AM will reduce material distribution and inventory costs for work-in-progress (WIP). It is a commercially suitable candidate for the production (and optimisation) of high-value parts where production methods are obsolete, specifically in the aerospace sector, where plane and components have a long shelf life. Finally, it allows the production decisions to be based on location and costs in order to minimise logistics.
 Liu, P., Huang, S. H., Mokasdar, A., Zhou, H., & Hou, L. (2014). The impact of additive manufacturing in the aircraft spare parts supply chain: Supply chain operation reference (SCOR) model based analysis. Production Planning & Control, 25(13–14), 1169–1181.
 Tuck, C., Hague, R., & Burns, N. (2007). Rapid manufacturing: Impact on supply chain methodologies and practice. International Journal of Services and Operations Management, 3 (1), 1–22.
 Oettmeier, K., & Hofmann, E. (2016). Impact of additive manufacturing technology adoption on supply chain management processes and components. Journal of Manufacturing Technology Management, 27(7), 944–968.


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MARRAKECH: NUMBER OF OVERNIGHT STAYS UP BY 10%
Kevin Eagan - Dec 3, 2018
The number of overnight stays recorded in the various classified tourist accommodation establishments in the city of Marrakech increased by 10% during the first nine months of the current year, compared to the same period in 2017.
According to statistics published by the Regional Tourism Council (CRT) of Marrakech, a total of 6,333,482 overnight stays were recorded at the end of last September, compared to 5,768,370 during the same period last year. The occupancy rate was 58%, compared to 52% during the period January-September 2017.
As for the average length of stay during the first nine months of 2018 in the ochre city, it was 3 days, which is the same as the average recorded during the same period in 2017. In September alone, the number of overnight stays in Marrakech reached 729,035 compared to 678,813 in September 2017, an increase of 7%.
By nationality, the French made the biggest number of overnight stays during the first nine months of the current year, with 1,822,033 compared to 1,638,705 a year earlier (+11%). The British are in 2nd position with 808,461 overnight stays (+1%), followed by the Germans with 319,721 overnight stays (+31%), the Spanish with 221,498 overnight stays (+46%), the Arab market with 149,718 overnight stays (+3%) and the Americans (138,625 overnight stays/+24%), while the Belgian market fell by 2% (136,119 overnight stays).
In terms of ranking by tourist accommodation unit, 5-star hotels rank first with 2,060,583 nights, followed by 4-star hotels (1,761,635 nights) and hotel clubs (1,361,157 nights), according to the same source.
MOROCCAN BUSINESS TRAVEL NEEDS MORE INVESTMENT
MOROCCO ATTEMPTS TO BOOST CRUISE TOURISM WITH A NEW PORT
Harem Escape: Morocco's Haven for Ladies


Found amidst an extensive tour following the release of another acclaimed studio album, Destroyer's Dan Bejar is enjoying the band's latest chapter in their fifteen year lifespan - sort of. "It's been really good. The band's sounding good and heaps of people are coming out to the shows, which is kind of helpful," he declares, dryly. "It's been kind of a long one compared to what we're used to, so I think people are a little tired. But the end is in sight. It's like ten people living on a bus . . . I'm not sure that's the most natural way to live, but it's also been fun."
Bejar's general attitude towards life on the road has never breached great enthusiasm over the years, the front man reflecting upon touring demands with cutting diplomacy. "A bunch of us get up there to go and live in bars and buses for thirty-one days straight. There's things around constant touring that are draining," he admits.
It is perhaps a necessary evil, however, particularly when you have a brand new release under your belt - one that's receiving major praise from all manner of outlets. Destroyer's Kaputt marks a key evolution in the life of the band, boasting an cool aquatic ambiance to ensure a lounge-lizard vibe. According to Bejar, it's no coincidence that the record posits such a definitive mood and tone. It was all laid out from the start. "We had a very specific idea about what instruments we wanted on the album. We've never been so full-on or so confident. We came up with a pallett," he reveals of Kaputt's early stages.
As the recording process of Kaputt unfolded, it too proved a point of difference for Destroyer this time around. Bejar, pioneering the sessions as per norm, identifies the changes this time around. "Usually I get into a room with a bunch of people and we try to start playing a song together. Then at some point we decide to try and record it. This was the exact opposite of that," he reveals. "There was no one ever in a room together. I made one record before this called Your Blues that had a kind of similar approach to the conception, but the music that we were making and the instrumentation was different, a lot more computer based,"
"(Kaputt) was recorded over a twenty month period so no one who played on the record ever saw any other person who ever played on the record," Bejar continues. "There was never any group dynamic whatsoever. It wasn't intense recording for twenty months. It was quite casual on and off for the first year or so,"
The result is one which Bejar himself has recently categorised as pop. Although Kaputt arguably flies in the face of traditional notions of the genre, the prolific muso gives insight into his labeling of the band's ninth studio album. "A pop record is where the role of the production is to make sure they're not snapped out of whatever stupor they're in," he muses.
It might be this quality above all else that has ensured Kaputt's success to date. Bejar appears typically modest concerning its reception, a typically matter-of-fact approach in full swing. "People seem to like it, it's cool," he begins. "We had a record called Destroyer's Rubies . . . we're fond of that and people really liked that one as well. It seems every five years I put out a record that people really like. It's weird as you get older, because having people really love your record involves people half your age listening to it, getting off on it. It also involves maybe people who hated you in the past decide now for some reason they can stand the sound of your voice, things like that."


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Joined-up decision-making please.
By The Editor | Category: Travel rumblings
In the UK and many other countries, social distancing has become the norm.
what is social distancing? 1 metre? 1.5? 2?
What is confusing is the distance that we are supposed to leave between one person and another.
In the UK, for example, it is suggested that a distance of 2 metres or six feet should be the norm. In Greece it is 1-1.5 metres and in Austria just one.
Can we be safe just a metre away from one person in Greece yet would that be dangerous in the UK?
Just about every government claims that that they are acting on the "best" scientific advice yet it is plainly obvious that scientific advice varies so who does one believe?
At a time when the EU could have made a difference by co-ordinating response it has shown no leadership and been content to let individual countries go their own way.
The differences in scientific advice has substantial implications for the travel and tourism industry because a metre distancing as opposed to two might allow double the number of people to travel on a bus, a coach on a train or in a plane. More would be able to queue in an airport and shops would be able to admit more shoppers. Adopting a one metre rule would have economic benefits for workplaces as well. Provided that that was considered a safe distance
But which scientific advice is the more accurate for the protection of people so they are less likely to catch the virus?
I cannot say because I have little scientific knowledge and none, medically. My concern is that conflicting advice in different countries causes confusion and makes people query the value of that scientific advice.
The arguments over wearing face masks continue but the consensus is that it protects other people if you wear a mask. But there is confusion on how long a mask will be effective before you need to replace it with a fresh one. Is it an hour, two, four or shorter or longer? That becomes important for travellers and holidaymakers on longer journeys
It looks as though it will be standard to have a temperature taken on entry to an airport or flight but if it is desirable there why not on a train when you also sit in an enclosed tube for possibly hours on end? And if you have your temperature taken, is that a useful monitor for an hour, or two or ten? When should you next check?
What should be the capacity of a plane or train, bus or coach? Initially thinking was about carrying only a third of people, now some say 50%. At 30% capacity, some big hotel chains would be at breakeven. Smaller hotels wouldn't be anywhere near it. With low-cost airlines, there is probably a higher breakeven level than on traditional airlines. But what is a safe figure? Safe for passengers and staff?
Achieving uniformity around the world would help dispel a growing view that scientific advisors are no more confident about some of their judgements than the rest of us are.
The Bournemouth guinea pigs
What a difference a metre makes
Passport Office will re-open
Portuguese pursuits – call of the cod
Tags: coronavirus monitoring, face-masks, social distancing, temperature testing in travel


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El municipio de Kočani (en idioma macedonio: Општина Кочани) es uno de los ochenta y cuatro municipios en los que se subdivide administrativamente Macedonia del Norte.

Geografía

Este municipio se encuentra localizado en el territorio que abarca la región estadística del este.

Población

La población de esta división administrativa se encuentra compuesta por un total de 38.092 personas (según las cifras que arrojaron el censo llevado a cabo en el año 2002). La superficie de este municipio abarca una extensión de territorio de unos 360,36 kilómetros cuadrados. Mientras que su densidad poblacional es de unos 106 habitantes por cada kilómetro cuadrado.

Enlaces externos

K

redpajama_set_name: RedPajamaWikipedia


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"We never know how our small activities will affect others through the invisible fabric of our connectedness. In this exquisitely connected world, it's never a question of 'critical mass.' It's always about critical connections." ~ Grace Lee Boggs
The Nai-Ni Chen Dance Company is a rare Asian American woman led professional touring company with programs for educational settings, community organizations and mainstage venues. The Company's worldwide touring is represented by Red Shell Management led by Edward Schoelwer. Prior to 2021, the Company leads the roster of renowned artist manager Joanne Rile who has since retired.
Nai-Ni Chen is an artist recognized by the community as a tradition bearer who learned authentic movement and dance skills from masters who followed the Kuomingtang (or The Nationalist/Democratic) government to Taiwan during the Chinese civil war and avoided the Cultural Revolution that destroyed the tradition. In this role, Nai-Ni Chen is a frequent guest in Chinese language media on dance, and she is a sought after judge/expert during community cultural dance conventions. She was an early member of the Cloud Gate Dance Company, the foremost contemporary dance company in Asia. Coming to the US in the 1980's, Nai-Ni worked with Bertram Ross, Mary Anthony, Doris Rudko and received a Master degree from NYU. She is an unique artist whose work spans two cultures.
Throughout the company's history, Nai-Ni Chen has collaborated with a wide range of artists from different disciplines and cultures. Her musical collaborators range from New Music, jazz to classical, they include: Joan La Barbara, The Chinese Music Ensemble of NY, Jason Kao Hwang, Huang Ruo, Kenji Bunch, Tan Dun, Glen Velez and most recently, the Ahn Trio. Award winning designers and visual artists such as Myung Hee Cho, Jay Moorthy, AC Hickox and costume designer Karen Young have also worked with Nai-Ni Chen. These collaborations provided her the opportunity to develop innovative works that can carry the timeless essence of the tradition, crossing cultural boundaries without compromising the integrity of the art.
Prominent Institutions, including the Lincoln Center Institute, the Joyce Theater, Dancing in the Streets, NJ Ballet, Ballet Met, Dancing Wheels, and Baraka Sele at NJPAC all have commissioned notable works. Our most recent tour, A Quest for Freedom, developed with the Ahn Trio, premiered at the Philadelphia NextMove Festival. The Company is currently in residence at New Jersey City University, the A Harry Moore for students with disabilities and in Elizabeth School #26, a school of mostly immigrant children.
Rio KiKuchi
Sonny Shiu
Jainil Mehta
Namhui Kim
Greta Campo
Candace Jarvis
Evan Matthew Stewart
Yuka Notsuka
Thibaut Witzled
About Nai-Ni Chen
Nai-Ni Chen, the founder, choreographer and Artistic Director of the Nai-Ni Chen Dance Company, comes from a rich dance tradition. She was a renowned traditional dancer in Taiwan where she was born and served on several ambassadorial culture missions to nineteen countries around the world including an one month engagement on Broadway in the Minskoff Theatre. An early member of the Cloud Gate Dance Theater of Taiwan, she graduated from the Chinese Cultural University and came to America to seek her own voice in the world of contemporary dance. Since the inception of her Company in 1988, Ms. Chen has created a rich and wide-ranging repertory, collaborating with a diverse group of musicians, artists, and cultural bearers. Touring over 25 years around the United State, her company has been presented in major performing art centers and communities covering the continental United States.
In addition to domestic touring, her company has also performed at international festivals in Mexico, Canada, BVI, Guatemala, Germany, Poland, Russia, Lithuania, South Korea and China with support from Fund for Mutual Understanding, The President's Committee for the Arts, Arts International and the State Department of the United States. Ms. Chen has received multiple Choreographer's Fellowship from the National Endowment for the Arts and from New Jersey State Council on the Arts. Her work has also been commissioned by the Joyce Theater Foundation, the Lincoln Center Institute, the Geraldine R. Dodge Foundation, Dancing in the Streets, the Mid Atlantic Arts Foundation and New Jersey Performing Art Center.
Besides creating dances for her own Company, she has choreographed the opera Turandot for several productions and was commissioned to create work for New Jersey Ballet, Dancing Wheels Company and Ballet Met in Ohio. She has taught master classes at colleges and universities throughout the United States and at dance festivals in Russia, Poland, Germany, Taiwan, China, and Mongolia. She was invited to set her work on students in professional schools and colleges including the Ailey School in New York and Case Western Reserve University in Ohio and Long Island University in New York. Her other teaching credit also include Mary Anthony Dance Studio, Peridance, Rutgers University, New York University and New Jersey City University. She has been a principal affiliate artist of the New Jersey Performing Arts Center since its inception. On television, Ms. Chen is an often-featured artist on PBS/NJN's "State of the Arts." With her dedication to dance education for children K-12, she received Distinguish Artist to the Field Award from Association of Teaching Artists and Lincoln Center Education in 2020.
Candace was originally from Brampton, Ontario, started her professional training at Bold Dance Company under the direction of Emilio and Stephanie Macri. She continued her training at The Ailey School as a Certificate Student. She has performed works by many choreographers including Amy Hall, Tracy Inman, Carlos Dos Santos and Norbert De La Cruz III. In 2013 Ms. Jarvis performed in Alvin Ailey's Revelations Cast of 50 at the New Jersey Performing Arts Center and took part in Robert Battle's New Directions Choreographers Lab at The Ailey School. Ms. Jarvis was a former member of Awaken Dance Theater under the direction of Rebekka Nodhturft. In 2015 she earned her Certificate of Honors from The Ailey School Certificate Program.
Evan Matthew Stewart - Dancer- was originally from Buffalo, NY. Evan began his dance training at Miss Barbara's School of Dance and at the age of ten continued to advance his training at David deMarie Dance Studio in styles varying from contemporary to tap and ballet to jazz. Evan also attended the Royal Academy of Ballet (Buffalo, NY) under the direction of Beth Waddell and while in college, attended the Joffrey School of Ballet New York City summer intensive to further his skills in ballet. In 2016, Evan graduated from the University of Buffalo with his BFA in dance and minor in counseling. During his time at the University at Buffalo, Evan was a member of the dance program's pre-professional company Zodiaque under the direction of Thomas Ralabate and Tressa Gorman-Crehan.
Originally from Mumbai, India, Jainil Mehta began his dance journey at the age of five,
performing in his living room. Before moving to Los Angeles, he trained at Shiamak Davar International in Mumbai, India for thirteen years. Jainil graduated Summa Cum Laude and received his Bachelor of Fine Arts in Dance from the USC Glorya Kaufman School of Dance with a Discovery Scholars Distinction, and has acquired a variety of skills including motion picture cinematography. He has performed works by esteemed choreographers: William Forsythe, Jiří Kylián, Jodie Gates, Barak Marshall, Alejandro Cerrudo, Dwight Rhoden and Matthew Neenan. Jainil's inner movement quality, expressions and love for storytelling come from his strong Indian roots and culture. Jainil has choreographed for Big Wild's music video "6's to 9's" and Falguni Pathak's "Jode Rahejo Raaj."
"Build your dreams as they are not just fantasies; DREAM TO DANCE" ~
Greta Campo began her dance training in her native Milan at the Carcano Theater, where she was first introduced to Martha Graham's work. At age 19, she began the Professional Training Program at the Martha Graham School in NYC and, after a couple of months, she joined Graham II, performing in ensemble and solo roles. She performed with the Martha Graham Dance Company in their 2012 New York Season and has also been traveling nationally and internationally with them. She completed the Teacher Training Program at the School. Greta has performed choreographies by Pascal Rioult, Larry Keigwin and has worked with renowned choreographers, such as Eryc Taylor and Nejla Yatkin. She was a member of Alison Cook Beatty Dance and received the 2016 Rising Star Award from Fini Dance Festival.
Sonny Shiu Dancer, is a Chinese-American who was born in Visalia, California but moved to Miami, Florida when he was 3. He started dancing at the age of 20 when he took interest in breakdancing, then at the age of 21 he was accepted into New World School of the Arts for dance where he graduated with his BFA in dance. Sonny has furthered his ballet training at intensives such as Charlotte Ballet, Alonzo King Lines Ballet, and CuBallet where he received scholarships as well as at Complexions Ballet, San Francisco Conservatory of Dance, and recently the Paul Taylor school. Since he graduated, he has danced with Peter London Global Dance Company and Dance Now! Miami. Sonny has also worked with Dale Andree on the 2018 National Water Dance.
The Ahn Trio
Born in Seoul, Korea, and educated at Juilliard, the members of the Ahn Trio—sisters Maria, Lucia and Angella—are redefining the art and architecture of chamber music, breathing new life into the standard piano trio literature with commissioned works from visionary composers like Pat Metheny, Kenji Bunch, Maurice Jarre, Nikolai Kapustin and Michael Nyman. The trio's latest CD, Lullaby for My Favorite Insomniac, made No.8 on the Billboard charts in the U.S. and the special edition release is now available on the RCA Red Seal label.
The trio thrives on dissolving the barriers between art forms. They have fused their work with that of dancers, pop singers, DJ's, electronic music artists, painters, installation artists, photographers and lighting designers. Next year, the Ahns will premiere Mark O'Conner's Triple Concerto as well as Nikolai Kapustin's second trio (Mr. Kapustin wrote his first and only trio for the Ahns). Wherever the Ahns go, they share their innovative spirit and ever-evolving vision of music.
Yonghong (Jenny) Jia
Yong-Hong (Jenny) Jia Kunqu Opera Performer studies voice at the Central Traditional Singing and Dancing School from age 15. She also studied dancing and piano at the China Arts School in Beijing and attended the Beijing Traditional Opera School, where she studied under the leading Kunju actress. Specializing in Hua Dan (vivacious young girl) roles, she has performed throughout China in many Kunju productions such as The Peony Pavilion. From year 1991 Yong-Hong Jia also engaged in various TV and movie productions. As a leading actress, she has won many awards for her acting. Yong-Hong Jia was invited by New York Lincoln Center Festival production, The Peony pavilion in year 1999, than performed this production around the world, such as France, Italy, Denmark, Australia and Singapore, etc. She also performs Beijing Opera and folk songs in many cities in North America.
Zhongmei Li
Zhongmei Li began her dance training at the Beijing Dance Academy, China's foremost dance institution, and continued in the U. S. winning full scholarships to study at both the Alvin Ailey and Martha Graham schools. She performed on Broadway in the long-running musical "The King and I," and she earned a master's degree in fine arts at the Tisch School at New York University. In 1994, she created the Zhongmei Dance Company, with which she performed all over the United States. In addition, she has performed in many other countries, including Singapore, France, Israel, and Brazil. She is a regular guest performer with the Aspen Santa Fe Ballet. Zhongmei's story is available in a non-fiction book, "A Girl Named Faithful Plum," by Richard Bernstein.
Kerry Lee
Kerry Lee is the Co-Artistic Director of the Atlanta Chinese Dance Company and a former principal dancer of the Nai-Ni Chen Dance Company. After graduating from Stanford University with an engineering degree and working for a top-ranked economic consulting firm, she followed her heart into the professional dance world in New York City. As a traditional Chinese and modern/contemporary dance artist, Kerry performed throughout the US and the British Virgin Islands with the Nai-Ni Chen Dance Company, H.T. Chen & Dancers, Dance China NY, and gloATL before returning home to co-lead the Atlanta Chinese Dance Company with her mother Hwee-Eng Y. Lee. Among other honors, Kerry was the only Chinese dancer among the finalists who received a ticket on So You Think You Can Dance Season 11
Jason Kao Hwang
The music of Jason Kao Hwang (composer/violin/viola) explores the vibrations and language of his history. His compositions are often narrative landscapes through which sonic beings embark upon extemporaneous, transformational journeys. His most recent releases, Conjure, his duo with Karl Berger, and Blood, performed by Burning Bridge, his octet of Chinese and Western instruments, have received critical acclaim. In 2019, 2018, 2013 and 2012, the El Intruso International Critics Poll voted him #1 for Violin/Viola. In 2017 Downbeat Magazine named his quintet Sing House as one of the best of the year. His 2015 CD Voice, which features vocalists Deanna Relyea and Tom Buckner received critical acclaim. Zilzal, his duets with Ayman Fanous, was named one of the Top CDs of 2014 by All About Jazz/ Italy. The 2012 Downbeat Critics' Poll voted Mr. Hwang as Rising Star for Violin. The first Burning Bridge was one of the top CDs of 2012 by Jazziz and the Jazz Times. In 2011 he released Symphony of Souls performed by his improvising string orchestra, Spontaneous River. In 2010, the New York Jazz Record selected Commitment, The Complete Recordings, 1981-1983 from a collective that was Mr. Hwang's first band, as one the 2010 Reissued Recordings of the Year. His quartet EDGE released, EDGE (2006), Stories Before Within (2008), and Crossroads Unseen (2011), all of which appeared on many top ten of the year lists. His chamber opera The Floating Box, A Story in Chinatown was one of the Top Ten Opera Recordings of 2005 by Opera News. As composer, Mr. Hwang has received support from Chamber Music America, NEA, Rockefeller Foundation, NY Community Trust, NJSCA, NYSCA, US Artists International and others. As violinist, he has worked with William Parker, Anthony Braxton, Butch Morris, Reggie Workman, Pauline Oliveros, Taylor Ho Bynum, Tomeka Reid, Patrick Brennan, Will Connell, Jr., Zen Matsuura, Oliver Lake, Adam Rudolph, Jerome Cooper and others.
Yueqin (Eugenie) Chen
Yueqin 'Eugenie' Chen 陈玥駸 is a classically trained Ruan and Liuqin artist, and currently serves as the Artistic Director of the Chinese Music Ensemble of New York. Born and raised in Shanghai, China, she started playing ruan at the age of five and liuqin at age nine. Chen gained admittance into the Shanghai Conservatory of Music in 2003 and studied ruan and liuqin performance with Professor Wu Qiang. In 2007, Chen was invited by the China Central Television to record a solo performance of "A Remote Song" (幽远的歌声) for a program featuring top young musicians in the nation. Later that year, her ensemble Jin Qi (金豈组合) took first place in the National Classical Chinese Music Competition. She remains an active performer after moving to New York and has appeared in Carnegie Hall, Lincoln Center and other venues both as a soloist and a collaborator. In 2015, she was invited to perform at the
2015 Met Gala themed China: Through the Looking Glass; as a featured guest artist and shared stage with Rihanna
Yichuan Yan
Mr. Yichuan Yan, born in Shanghai, China, is widely regarded as one the best Jing Hu players of his generation. After he started his Jing Hu training at age 9, he fell in love with the instrument immediately. His talent became quite obvious in early age. As he studied in Shanghai Opera Academy, he soon caught eyes of Jing Hu masters. A few approached his parents to offer him additional in person lessons. His love, talent and the unique education experience made him a rare young lead Jing Hu player at age of 24 in Beijing Opera House of Shanghai. Through years of collaborations with elite performing artists, he gained national fame and established as an elite Jing Hu player.
In 1997, Mr. Yan and his family moved to US and eventually settled in Los Angeles, where he founded Zhen Xing opera club. While his focus shifted to education and culture exchange after he moved to Los Angeles, he has continued to collaborate with performing artists from different continents to perform in places like New York, Los Angeles, Taipei, Beijing, Shanghai, Shenzhen, etc... In recent years, Mr. Yan's work has been collected to China Jing Hun archive. He also becomes a coach that many young professional Jing Hu player would come to for advice.
Chen-Yu Tsuei 崔珍瑜
Founder, President and Instructor at the Chinese Cultural and Arts Institute, Harrisburg, PA. Ms. Tsuei began her dance training at the age of five and has won many national dance competitions in her country. At the age of 16, she was a member of Kaohsiung Contemporary Dance Company of Taiwan. In 1989, she came to the United States with a special audition as a scholarship student at The Juilliard School and continued her dance training at The Boston Conservatory, Drexel University, Jacob's Pillow and The Paris Opera Ballet School for Teaching Program etc. In 1990, she won the First Prize of Chinese-American Performing Arts Competition. Ms. Tsuei has received her BFA Degree from The Juilliard School and her M S Degree in Arts Administration from Drexel University.
Ms. Tsuei's professional experience include various cross cultural performances with The Lincoln Center program, the First Asian Contemporary Dance Festival, Dance Around World, Guest Artist at the Visual/Media Center at MIT, DePass Dance Company, instructors at the Boston Conservatory, DePass Dance Co., Berks Ballet Theater, Omega Dance Co, Columbia University, Long Island University, Colorado State University, Light of Life Performing Arts and Central Pennsylvania Chinese Association. Over the past decade she has performed at the National Cathedral in Washington D.C. and St. John's Divine. During the year of 1996-2001, she was the Artistic Director of Danse Nova in Kaohsiung, Taiwan R.O.C. In 2008, Ms. Tsuei received "Woman who cares" awards. Currently, she is the Founder /President of Chinese Cultural & Arts Institute since year 2000. She received teacher's certifications from OCAC since 2010. Since 2005, she has received NEA funded Master/Apprentice scholarships in preserving traditional Chinese dance.
Yang Xiao Di
Yang Xiao Di was born in Shanghai, China, at the age of 6, Yang Xiao Di became an apprentice acrobat with the Pan Ying family, performing at the Shanghai Big World Entertainment Center. He rapidly excelled in a variety of Chinese acrobatic genres, including equilibristics (handstands, headstands, and balancing skills), juggling (devil stick, Diablo, spinning plate, boomerangs and flying tridents), trapeze, teeter board, the traditional Lion Dances and clowning. In 1988-89, Yang Xiao Di and the NanJing Troupe joined forces with America's Big Apple Circus, touring the Northern United States, including a long run at Lincoln Center, in a program titled "East meets West: The Big Apple Circus Meets the Money King." Yang Xiao Di was the centerpiece of the program, playing the "Monkey King", a traditional clown-like character from Chinese Opera.
During 1992, Yang Xiao Di was hired to give performances in Pakistan and Sri Lanka. In 1993, Yang Xiao Di joined the National Circus Project (NCP), becoming their first exchange artist from the People's Republic of China. With the arrival of his wife and son in the U.S later that year, Yang Xiao Di became a permanent Senior Artist/ Instructor on the NCP staff. He has toured in hundreds of public schools and community centers throughout the U.S., performing and teaching circus skills in his unique style to hundreds of thousands of American children.
Hong-Tao Sun
HONG-TAO SUN (Pipa) is a distinguished musician and the Executive Director of the Chinese Music Ensemble of New York. He graduated from the music School of the Shanghai Conservatory of Music where he studied with the renowned pipa (pear-shaped lute) Master teachers Zhong-le Wei and Rong-Zhu Ying.
From 1974-1991, he was a principal soloist when he worked at the Shanghai Dance Academy and performed with Shanghai Performing Arts Troupe until he came to the United States in January 1991. Mr. Sun is the principal of the plucking string section of the Chinese Music Ensemble of New York and represents the Chinese Music Ensemble of New York in many performances as a soloist and teaches pipa in the educational programs of the Chinese Music Ensemble. Mr. Sun has been selected as the Executive Director of Chinese Music Ensemble of New York since 2011.
PeiJu Chien-Pott is an internationally acclaimed contemporary dance artist from
Taiwan, described as "one of the greatest living modern dancers" , celebrated
particularly for her work as Principal Dancer with the Martha Graham Dance
Company and her performances in the iconic roles of the Graham repertory. On the
theater stage, PeiJu was Principal Actress in the latest Kung Fu musical "Dragon
Spring Phoenix Rise" commissioned by The Shed and choreographed by Akram
Khan. Her many awards include a Bessie for "Outstanding Performance", Positano
Premia La Danza Leonide Massine for "Best Female Contemporary Dancer", Capri
International Dance Awards, included "Best Performers" in the 2014 and 2017
Dance Magazines, and numerous awards in her native Taiwan. PeiJu currently
serves as a faculty member at The Ailey School and her commercial work
represented by MMG New York.
Namhui Kim, Dancer was born and raised in Tokyo and is of Korean heritage. She began her training with Hiromi Dance Company in ballet, jazz, tap, theater, and voice. She performed in many theater productions such as Annie that toured Japan. Namhui came to New York City in 2017 to pursue a BA in Dance at Hunter College, CUNY where she got opportunities to train in the Parsons Dance summer intensive, and the winter intensives with Monica Bill Barnes & Co. along with Doug Varone and Dancers as a full scholarship student. She also received training at The Ailey School as a professional division student in 2019. She has also danced in works by Blakeley White-McGuire, Larry Keigwin, Peter Cheng, Jessica Castro, Rebecca Margolick, Jamie Thompson, and Karisma Jay. Besides dancing she also works at Orthopedic Movement Physical Therapy as Dr. Miho Urisaka's assistant, exploring how she can help people who have physical problems and interests in their body improvement.
Thibaut Witzled is a graduate of the Martha Graham School of Contemporary Dance and the Ailey School where he earned a Horton Teaching certification. He had the opportunity to dance "Revelations" with the Alvin Ailey American Dance Theater in New York City Center in 2019 which was broadcasted on network television. He also took part in Jacqulyn Buglisi's Table of Silence 9/11 Memorial in Lincoln Center for the past 3 years. Thibaut danced with Mosley's Hearts of Men Diversity of Dance, International Ballet Festival of Union City, Ballet Beyond Borders International Los Angeles and with the Fordham and Columbia. University. Thibaut also worked for the Alvin Ailey Dance Foundation, Paul Taylor Dance Foundation and the Dance Magazine Awards 2019 and 2020. Besides dancing for Nai-Ni Chen, Thibaut is assisting emerging choreographer Nobert de la Cruz.
Yuka Notsuka Dancer born in Fukuoka, Japan. She began her Ballet training in her hometown at age four. Later she broadened her training to include Jazz and Tap. She worked as a performer in Universal Studios Japan and Huis Ten Bosch theme park in Nagasaki from 2011-2015. Later Yuka moved to New York City to further pursue her career as a dancer. In 2015 she entered the Ailey School as a scholarship student. She performed in Ailey Spirit Gala Concert at Lincoln Center choreographed by Tracy Inman (Co-Director, The Ailey School) and Robert Battle (Artistic director of Alvin Ailey American Dance Theater). In New York, she also has been in training and served as Teaching Assistant at the Luigi Jazz Dance Center under Francis J. Roach.
Our vision is that the immigrant's journey of crossing culture and adapting to the new home provides endless inspirations and opportunities for creative expressions that can enrich the human experience. Each one of our productions is aimed to increase the visibility of the struggle, triumph, despair and joy on this amazing, timeless journey.
In NY and NJ area, our programs: The Chinese New Year Celebration has been a culture staple in Newark, Queens, Brooklyn, Bronx and Staten Island since 1996; the Annual Imagine Ellis Island AAPI Heritage Festival presenting a diverse array of Asian American traditional dance artists in collaboration with the National Park Service since 2015; Asian American choreographers, dancers and musicians sharing the stage in the CrossCurrent Contemporary Dance Festival at Flushing Town Hall highlights the creativity of the Asian American community since 2013. Besides these activities, the Company has been in the school assemblies of millions of K-12 students in NY/NJ/PA area as well as in countless AAPI community festivals and celebrations. These lockdown during the pandemic have inspired The Bridge in 2021, a daily virtual dance class featuring a diverse array of 24 BIPOC collaborators. These ongoing programs showcases the immigrant's journey and serve to advance the visibility of the Asian American art , artists and our relationship with the broader communities.
Most of the dancers in the Company are immigrants themselves. Choreography is developed with dancers from diverse backgrounds working collaboratively with Nai-Ni Chen, each rehearsal is an immersive, boundary-crossing journey that contributes to the creative process. Their experience places an indelible mark on the dance and naturally brings forth issues of identity, authenticity, and equality.
Sponsors and Support
Programs of the Nai-Ni Chen Dance Company are made possible by the National Endowment for the Arts, the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, The Mid-Atlantic Arts Foundation (MAAF), the New Jersey Cultural Trust, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, The New Jersey Arts and Culture Recovery Fund administered by the Princeton Area Community Foundation, the Geraldine R. Dodge Foundation, the Hyde and Watson Foundation, E.J. Grassman Trust, The Horizon Foundation for New Jersey, the Live Music for Dance Program of New Music USA, the Blanche & Irving Laurie Foundation, Dance/NYC Dance Advancement Fund, the Rapid Response Program of American Dance Abroad, the Association of Performing Arts Presenters' Cultural Exchange Fund, supported by the Andrew W. Mellon Foundation, PSEG, Proskauer, WAC Lighting, and the Glow Foundation.
i n f o @ n a i n i c h e n . o r g


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Friedrich von Keller (* 18. Februar 1840 in Neckarweihingen; † 26. August 1914 in Abtsgmünd) war ein deutscher Maler.

Leben
Von Keller wurde als jüngstes von zehn Kindern von Johann Jakob Keller, einem Weingärtner geboren. Sein Vater verstarb bereits im Jahr 1849. Dank der Unterstützung einiger Mäzene konnte er den Zeichenunterricht an der gewerblichen Fortbildungsschule in Ludwigsburg besuchen. Er musste als Handwerker Geld verdienen. Mit achtzehn Jahren kam er nach Stuttgart, um die dortige Kunstschule zu besuchen, was er sich jedoch nicht leisten konnte. Er besuchte daher in den Abendstunden die Zeichenschule des dortigen Polytechnikums. Mit 27 Jahren besuchte er schließlich die Kunstschule und wurde von Bernhard von Neher und Heinrich von Rustige unterrichtet. Keller erhielt das königliche Schulstipendium in Höhe von 125 Dukaten. Noch während des Studiums erwarb er seinen Lebensunterhalt durch Wappen- und Buchstabenmalerei.

1871 übersiedelte er nach München, wo er als freischaffender Künstler tätig wurde. Er setzte dort sein Studium als Gasthörer bei Wilhelm von Lindenschmit an der Königlichen Akademie der Künste fort. Zu seinen Freunden zählte u. a. Franz Defregger. Im Zeitraum von 1872 bis 1878 schuf er eine Reihe realistischer Steinbrecher-Szenen.

Keller heiratete am 16. Oktober 1876. Ein Jahr später wurde sein Sohn Fritz und im Juli 1879 seine Tochter Ernestine Sophie geboren.

1883 wurde er in der Nachfolge von Carl von Häberlin als Hauptlehrer (Professor) für Malerei an die Stuttgarter Kunstschule berufen. Zu seinen Schülern gehörten u. a. Paula von Waechter, Bernhard Buttersack, Maria Caspar-Filser, Adolf Fleischmann, Oskar Schlemmer, Gustav Schraegle und Ernst Schmitz.

1908 feierte er sein 25-jähriges Jubiläum als Hochschullehrer an der inzwischen zur Akademie erhobenen Stuttgarter Kunstschule. Er wurde vom König Wilhelm II. 1909 mit dem Großkreuz der Württembergischen Krone ausgezeichnet. Im Jahr 1913 trat er im Alter von 73 Jahren in den Ruhestand.

Literatur

 Thomas Maier, Bernd Müllerschön: Die Schwäbische Malerei um 1900. Die Stuttgarter Kunstschule / Akademie, Professoren und Maler; Geschichte – Geschichten – Lebensbilder. Stuttgart 2000, S. 77–81

Weblinks

  buergerverein-neckarweihingen.de
 RKD artists

Einzelnachweise

Maler (Deutschland)
Genremaler
Porträtmaler
Hochschullehrer (Staatliche Akademie der Bildenden Künste Stuttgart)
Träger des Ordens der Württembergischen Krone (Großkreuz)
Deutscher
Geboren 1840
Gestorben 1914
Mann


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Previous volumeNext volume
Petroleum Geology of the Black Sea
M. D. Simmons, Halliburton, UK
G. C. Tari, OMV, Austria and
A. I. Okay, Eurasia Institute of Earth Sciences, Turkey
Licensed Free
About this title - Petroleum Geology of the Black Sea
Geological Society, London, Special Publications, 464, NP, 24 July 2018, https://doi.org/10.1144/SP464
Petroleum geology of the Black Sea: introduction
M. D. Simmons, G. C. Tari and A. I. Okay
Geological Society, London, Special Publications, 464, 1-18, 4 May 2018, https://doi.org/10.1144/SP464.15
Crustal structure and tectono-stratigraphy
Crustal structure of the Mid Black Sea High from wide-angle seismic data
D. J. Shillington, T. A. Minshull, R. A. Edwards and N. White
Geological Society, London, Special Publications, 464, 19-32, 4 October 2017, https://doi.org/10.1144/SP464.6
Geological evolution of the Central Pontides
Aral I. Okay, Demir Altiner, Gürsel Sunal, Mesut Aygül, Remziye Akdoğan, Sevinç Altiner and Mike Simmons
Geological Society, London, Special Publications, 464, 33-67, 15 September 2017, https://doi.org/10.1144/SP464.3
Cretaceous geological evolution of the Pontides
Okan Tüysüz
Geological Society, London, Special Publications, 464, 69-94, 8 September 2017, https://doi.org/10.1144/SP464.9
Stratigraphy, petrogenesis and geodynamic setting of Late Cretaceous volcanism on the SW margin of the Black Sea, Turkey
Mehmet Keskİn and Okan Tüysüz
Geological Society, London, Special Publications, 464, 95-130, 28 September 2017, https://doi.org/10.1144/SP464.5
Geochronology, geochemistry and isotope systematics of a mafic–intermediate dyke complex in the İstanbul Zone. New constraints on the evolution of the Black Sea in NW Turkey
Namık Aysal, Mehmet Keskin, Irena Peytcheva and Olgun Duru
Geological Society, London, Special Publications, 464, 131-168, 25 September 2017, https://doi.org/10.1144/SP464.4
Hydrocarbon plays of the western Black Sea
The geological history of the Istria 'Depression', Romanian Black Sea shelf: tectonic controls on second-/third-order sequence architecture
David R. D. Boote
Geological Society, London, Special Publications, 464, 169-209, 9 October 2017, https://doi.org/10.1144/SP464.8
Cretaceous sedimentation along the Romanian margin of the Black Sea: inferences from onshore to offshore correlations
C. Krezsek, R.-I. Bercea, G. Tari and G. Ionescu
Geological Society, London, Special Publications, 464, 211-245, 7 September 2017, https://doi.org/10.1144/SP464.10
Deep-water plays in the western Black Sea: insights into sediment supply within the Maykop depositional system
E. V. L. Rees, M. D. Simmons and J. W. P. Wilson
Geological Society, London, Special Publications, 464, 247-265, 15 September 2017, https://doi.org/10.1144/SP464.13
Regional petroleum systems and source rocks
Oligocene and Lower Miocene source rocks in the Paratethys: palaeogeographical and stratigraphic controls
R. F. Sachsenhofer, S. V. Popov, A. Bechtel, S. Coric, J. Francu, R. Gratzer, P. Grunert, M. Kotarba, J. Mayer, M. Pupp, B. J. Rupprecht and S. J. Vincent
Geological Society, London, Special Publications, 464, 267-306, 7 September 2017, https://doi.org/10.1144/SP464.1
Source potential and depositional environment of Oligocene and Miocene rocks offshore Bulgaria
J. Mayer, B. J. Rupprecht, R. F. Sachsenhofer, G. Tari, A. Bechtel, S. Coric, W. Siedl, W. Kosi and J. Floodpage
Source rock evaluation of Middle Eocene–Early Miocene mudstones from the NE margin of the Black Sea
Stephen J. Vincent and Matthew N. D. Kaye
Messinian–Holocene stratigraphy
Messinian canyons in the Turkish western Black Sea
N. Ö. Sipahioğlu and Z. Batı
Holocene source rock deposition in the Black Sea, insights from a dropcore study offshore Bulgaria
M. Fallah, J. Mayer, G. Tari and J. Baur
Petroleum potential of the eastern Black Sea and deep-water exploration review
Stratigraphy, structure and petroleum exploration play types of the Rioni Basin, Georgia
G. Tari, D. Vakhania, G. Tatishvili, V. Mikeladze, K. Gogritchiani, S. Vacharadze, J. Mayer, C. Sheya, W. Siedl, J. J. M. Banon and J. L. Trigo Sanchez
Geological Society, London, Special Publications, 464, 403-438, 4 May 2018, https://doi.org/10.1144/SP464.14
History of deepwater exploration in the Black Sea and an overview of deepwater petroleum play types
G. C. Tari and M. D. Simmons
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The first day of school is one of those events that brings on a a giant heap of emotions. It's a mix of happy and sad — some nostalgia swirled in with worry to pinpoint a few. You want to be strong for your kid so they have the confidence to take on the new year with flying colors. But what if you're worried you might fall to piece? You can get through this rough morning by focusing on how to keep yourself composed on your child's first day of school. This way you won't be a blubbering mess as your child walks into their classroom.
Even if you're a veteran to sending kids off to school, the first day can still be tough. It's a reminder that you child is growing up and getting older, which can be hard on a mama's heart. Reflecting too long on such things can bring on the water works for any grown woman. However, deep down every mom wants the first day of school to be a happy occasion for their child, and you don't want to have them fretting over leaving a tearful mommy behind.
To keep yourself cool as a cucumber, focus on these 13 ways you can survive the first day of school and make the other mothers wonder what your secret is.
Start playing the right tape over and over in your head. Chances are, everything is going to be OK, so go ahead and believe that's true. As Today's Parent pointed out, children are prepared to handle milestones better that you think. Both you and your child are more ready to handle this day than you give yourself credit for.
There is no rule about having a cry once your child is at school. Give yourself permission to blubber over your baby going to school after you drop them off. Hold it in when you fell the tears coming on, and remind yourself you have the green light to cry once your child cannot see you any more.
When it starts to feel like you just can't do it, remind yourself why this is a good choice and repeat it over and over. To overcome those first day feelings, give yourself a pep talk of positivity about why going to school is best for your child, as suggested by Parents magazine online.
When my oldest shipped out to kindergarten, a friend hosted a little morning gathering for all of us who just sent our little off to school. She had mimosas and snacks for us to enjoy while we talked about how the morning went. Having people who are experiencing the same thing around is a great comfort on though days.
Most people think "Meet The Teacher Night," is for the kids (and of course, they benefit from this preview), but these events are also good at easing the nerves of parents. Having a visual of exactly where you child will be all day helps you to feel more in control and calm about sending them off on the first day. As Scholastic's website pointed out, most teachers invite families for this type of event, but if your's does not, call and ask if you can pop in for a quick visit.
Anticipating a day full of feelings after dropping your child off on the first day of school? Plan something fun for yourself that day so you have something to look forward to. Perhaps lunch with a friend, a pilates class, or a shopping trip will be a good distraction for you until pick up time.
To have a more relaxed start to the day, get up early on the first day of school as the website for PBS Parents suggested. Waking up with time to spare will remove any extra stress from rushing to get out the door on time.
If you feel like you're going to lose your cool when your little one heads out on the first day, don't beat yourself up. You're allowed to have emotions about this. Be kind to yourself and remember that each day gets a little easier.
One sure way to avoid coming unglued on the first day of school, is to have some consequences. Make a harmless bet with a a friend or your partner that if you lose composure than you have to do something like buy them breakfast or do all the dishes for a week.
When you're trying to keep your nerves in tact, doing as much as you can to prepare in advance will help. As Kids Health pointed out, creating a check list of back to school items will set you up for success on the first day of school.
Keep yourself calm with nice deep breaths. According to Psych Central, deep breathing helps our nervous system with fight or flight, and can be beneficial in stressful situations.
I know it sounds very unicorns and rainbows, but reminding yourself of all the good reasons and positive things that will come from this school year ahead can keep you from feeling overwhelmed on the first day of school.
If you're worried about staying cool on the first day of school, ask for reinforcements. See if a friend or family member is available to come with you when you drop off your child. Having someone their to support you can make you feel stronger and more capable of handling hard situations.


Excavation has started on a 5km highway tunnel through a granite mountain overlooking Seoul in South Korea.
Specialist rock tunnelling contractor Taeah is using drill+blast to excavate almost half the length of the twin tube tunnel on the 12.4km stretch of six-lane highway between the Geumcheon technology business district and the upmarket residential district of Seocho on the southern side of the South Korean capital.
The highway, known as the Kangnam Beltway, needs to pass through the Gwanaksan mountain, a 632m-high granite formation whose name in Korean means "hat-shaped peak". The mountain itself is a tourist magnet, and its slopes are home to the Buddhist hermitage of Yeonjuam and the dramatic Yeonjudae, a Buddhist hall perched on a granite cliff.
Taeah Project Manager Seong-su Kim reported that since tunnelling started from in front of the main campus of Seoul University in July, excavation on the company's 2.4km contracted share of the tunnel had progressed by 338m by October.
After encountering all five grades of rock initially ranging from Type I hard granite through to Type V granite/soil mix, Kim said that only Types I and II were blasted during 175m of excavation in September.
Taeah is using a Sandvik DTi jumbo with three booms that can cover a face ranging from 20-203m2. The rig is fitted with Sandvik's new tunnel planning software, iSure. The system offers a way of simultaneously working with optimised drilling and blasting patterns to reduce the need for scaling, increase rock loadability for mucking, and ensure smoother collaring in the following round.
The main tunnel is 20m wide x 10m high, with a shorter stretch of 14m x 9m, and is being advanced on a topheading and bench cycle. Charge hole diameter is the standard Korean specification of 45mm. During summer six blasts a day are being carried out, although this is expected to reduce to four or five in the winter.
The Sandvik jumbo is operating 24 hours a day, to drill face charge holes in each of the twin tubes alternately. The complete highway contract is being carried out for Kangnam Beltway and is scheduled for completion in May 2013.


Hillier, who have 12 garden centres across the South of England will be encouraging their 450 employees and customers to raise awareness and funds to support local people with cancer.
"As a company we wanted to support a local charity and for us Wessex Cancer Trust was an obvious choice. Cancer is an awful disease which affects so many people at some point in their lifetime, so we're very proud to support a charity which does so much fantastic work in the local community, providing support not only to those affected but their loved ones as well.
Alongside sponsorship of events such as the Bournemouth Air Show Hospitality Day, Quostar's staff regularly get involved with in-office fundraising such our Go Stripy dress down day for childhood cancer awareness month.
Specsavers is a Partnership of nearly 2,000 locally-run businesses, committed to delivering high quality, affordable optical and hearing care in the communities they serve.
"Specsavers has a culture of supporting and engaging with the communities it serves, therefore it was a natural fit for our support office in Whitley to choose the WCT to support this year. Our staff are highly motivated and encouraged to focus their fundraising efforts on a local charity where the benefits of every pound raised and from every team community day in a WCT centre can be seen first-hand.
Specsavers have already taken part in Cakes 4 Cancer, held a fashion show and a raffle and raised money at their ball. Their staff also re-decorated our Winchester and Cosham Support Centres on their give and gain days!
We'd love you to fundraise for Wessex Cancer Trust in your place of work and we make it as easy as possible with events and campaigns to get involved in throughout the year.


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Home Transportation
In Corpus Christi's Hillcrest Neighborhood, Black Residents Feel Like They Are Living in a 'Sacrifice Zone'
in Transportation
When Justine Knox, 57, bought her single-story home in Corpus Christi's historic Hillcrest neighborhood in 1993, she wanted to stay and raise her family in the community where she grew up and met her husband.
"I wanted my kids to one day come back and say, 'Hey, I grew up right there. It's my home. My parents worked hard for that,'" she said.
Twenty-eight years later, Knox's house sits next to vacant lots where well-kept houses from the 1920s once stood, abuzz with family life. Her neighbors moved out under a voluntary resettlement plan with the Port of Corpus Christi, which razed the acquired properties in recent years to make way for the new Harbor Bridge.
"They've torn down all of the houses of my former friends that I grew up with, and their parents' homes," said Knox, a senior administrative assistant for the Corpus Christi Independent School District. "The first strike against the neighborhood was the refineries moving in next to the residential area," she said, "and the plan to construct a new harbor bridge drove the last nail in the coffin."
Hillcrest and the adjoining Washington-Coles neighborhood—once-thriving black communities—are struggling to survive, just as Congress is haggling over the Biden administration's $20 billion proposal to reconnect communities displaced by highways. The effort coincides with a growing momentum across American cities, seeking to remove what environmental justice advocates call "racist" highways.
According to the non-profit Congress for the New Urbanism, which monitors highway removals nationwide, 28 cities have proposed 33 projects to take down highways that displaced mostly-Black neighborhoods from the 1950s onwards. Rather than solving transportation problems by building new highways, the new approach advocates making downtown areas more livable and walkable, and accessible through connecting streets and bike lanes. Biden has committed to addressing environmental racism as part of his political agenda.
Mustafa Santiago Ali, who served as an associate administrator in the Environmental Protection Agency's environmental justice office in the Obama administration, said Biden's "all-of-government" approach to eliminating "sacrifice zones" is critical to protect people's health and welfare in communities of color.
"The question is, are the lives of these communities seen as valuable?" said Ali, who is now vice president of environmental justice, climate and community revitalization for the National Wildlife Federation. "Because if they were valuable, then we would make sure that we're doing everything possible to protect those lives."
Not all states and cities are onboard. The Texas Department of Transportation (TxDOT) is proceeding with its plan to construct a new 6.44-mile, six-lane, 538-foot-high Harbor Bridge to the east of Hillcrest that would connect downtown Corpus Christi to Rincon Point, known to locals as North Beach. The construction began in 2016.
One of the reasons cited for replacing the existing 243-foot-tall bridge that has towered over Corpus Christi's skyline since 1959, was that it did not have the elevation to allow supersized ships, called Very Large Crude Containers, from entering the port. Safety and maintenance costs were among the other concerns raised as arguments for a new bridge.
The Port of Corpus Christi views the project as the means to unlocking its potential as a major petrochemical hub, spurring industrial growth and boosting crude-oil exports to three-times the present volume. The new Harbor Bridge is part of a wider plan to deepen and widen the ship channel to accommodate bigger oil tankers.
Hillcrest residents saw their neighborhood cut off from the rest of the city after the transportation department okayed the so-called Red Alternative out of five available design possibilities.
A predominantly Hispanic and Black neighborhood, Hillcrest is already hemmed in by miles of an industrial stretch known as Refinery Row to the west, and oil tanks lining the inner harbor to the north. To the south is Interstate 37, a 24/7 source of traffic noise and pollution from vehicular exhaust. The new Harbor Bridge will be to its immediate east, boxing Hillcrest in.
Though not directly overhead, the bridge spurred concerns about additional noise and pollution in a minority neighborhood already suffering from elevated toxic pollution from the nearby refineries.
A recent study by the Environmental Integrity Project (EIP), a Washington-based nonprofit, named CITGO's Corpus Christi East Refinery next to Hillcrest as among 13 facilities that exceeded the EPA's "action level" for average annual benzene emissions in 2020. A 2008 study by Texas A&M University found that Hillcrest residents showed average levels of benzene—a known carcinogen—280 times those of the general population.
Concerned about the menacing impacts of the bridge construction, two Hillcrest residents filed a Title VI civil rights complaint in 2015, arguing that the proposed route for the bridge would disproportionately impact the minority community. The lawsuit culminated in a settlement between the residents, the city, the port and TxDOT that called for a three-year Voluntary Acquisition and Relocation Program for people living in the neighborhood, beginning in May 2017 and ending in May 2020.
The program offered homeowners and renters two to three times the value of their properties so they could move to similar-sized units elsewhere in the city, where property prices were higher.
Texas A&M's Texas Real Estate Research Center found in a 2020 study that by September 2019, 258 homeowners and renters had taken the buyout option, out of a total of 467 parcels. Both the families who relocated and those who chose to stay in Hillcrest have struggled, the study said. Those who remained were especially angry about the loss of community. Those who relocated and purchased homes in more affluent areas in some cases felt excluded or unwelcome in their new neighborhoods.
Knox considered the relocation agreement a deadly blow to her community. "The refineries, the port, the city, the state, everybody was attacking this one neighborhood and breaking it down like they did. And we weren't even given an option," Knox said.
Minority Neighborhoods Are Cheaper to Buy Out
Errol Summerlin, 69, is a retired legal aid professional, who has known Hillcrest for decades and was also involved in organizing a Title VI complaint against the new bridge. He said the residents tried but failed to get the port to reconsider the Red Alternative.
"The Port of Corpus Christi wanted the current bridge to be raised in height by another 67 feet to bring the VLCCs (Very Large Crude Containers) into the inner harbor underneath the bridge, in order to export fossil fuels to the world market," Summerlin said. That extra height caused engineers to drop those alternatives that would have affected the downtown areas and some of the commercial buildings there, he added.
If the Port had not insisted on the extra 67 feet, he said, the other alternatives would have been available. "But that just killed it," he said.
Summerlin recalled attending a city council meeting before the construction began and listening to the presentation about what the new bridge was going to look like. "The mayor didn't ask a single question, no one in the council asked a single question about how the community residents in the area were going to be affected by it. All they said was build a pretty bridge," he said.
"There were generations of families who lived there," he said, adding "and many had deep roots in that neighborhood and simply did not want to leave. It was heart-wrenching for them to have to consider that they were going to have to move because of this bridge."
It was also, he added, essentially a reaffirmation of what has been going on with the City of Corpus Christi and its treatment of the Black community for 100 years.
Summerlin said the original price tag for the bridge was $802 million, the most expensive among all the alternatives. "But now that price tag is at $930 million. And it's expected to be over $1 billion by the time it is actually completed. But it's nearly three years behind schedule."
In 2019, TxDOT dismissed the construction company and suspended design work on the bridge. A National Transportation Safety Board report linked the company to a pedestrian bridge that had collapsed in March 2018. Six people died in that incident. A new firm was hired to resume design and construction work in July 2020.
Once the new bridge is complete, the old one will have to be torn down, leaving what remains of Hillcrest engulfed in a long demolition project.
"Those that remain there now are left without that neighborhood. And the ones that had to leave, they miss it," Summerlin said. "I think that watching what happened to these individuals personally, and how it tore them apart trying to make these decisions. That was the hardest thing for me."
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The Rev. Adam Carrington of the African Methodist Episcopal Church came to Hillcrest in November 2014. He said residents had been moving out of the area for decades to get away from the refineries and pollution. The new Harbor Bridge and the resettlement money became another incentive to consider moving away from the pollution.
"Because that area is surrounded by refineries and industry, it depreciates the value of the property. So over time, economic distress sets in. Barber shops would leave, because they needed to make money. You had taxi services, small businesses left the area," Carrington said. "So now you have no money flowing in the neighborhood. You have no schools, no businesses that help keep the neighborhood thriving. Those businesses left and the industry took over."
Carrington said about 70 percent of the neighborhood population has moved out after taking the deal.
"We still have about maybe 70 families left in the neighborhood," he said. "And I still fight for the folks who remain in the neighborhood. And we still fight for just basic necessities that the city should apply, you know, picking up the trash, cutting the grass, policing the neighborhood, just a basic set of responsibilities, we still continue to fight for that."
From her house on Stillman Avenue, Justin Knox can see the public services deteriorating, with untended grass on abandoned lawns and overgrown shrubs on empty lots. "Now when I come in from work, I have to wait and see if the Port has decided to come and mow the lawns that are probably about eight to 10 feet tall," she said. "And when they do come, they just bring in the big tractors and move them down and leave the grass everywhere." she said.
'Clean Up the Area. Don't Force Me to Move'
Corpus Christi has 12 petrochemical plants listed on the EPA's Toxic Release Inventory (TRI) within a three-mile radius. TRI tracks chemical releases and prevention actions reported by the facilities on the list. Some of these facilities, with the largest disposal of chemicals, are located on what's known as Refinery Row, bordering Hillcrest. The neighborhood is also within a half-mile of a Superfund site contaminated by hazardous oilfield wastes.
A Toxic Substances and Disease Registry's (ATSDR's) 2016 study found that benzene emissions near Refinery Row could cause respiratory issues and decreases in various types of blood cells. Particulate Matter (PM2.5) concentration along the 10-mile industrial stretch, it said, could have worsened heart and lung problems, especially in children and older adults, or those with pre-existing conditions. The study found an increased cancer risk from long-term exposure to a mixture of Refinery Row chemicals.
Lemont Taylor, a 68-year old African-American man, moved to Hillcrest in the 1960s and received a diagnosis of stage-four bladder cancer in 2014. For the next six years, he underwent numerous operations in addition to chemotherapy and radiation. He blames the toxic pollution from the refineries for his ordeal.
"Now the Harbor Bridge has come in and taken over the neighborhood," he said. "And the Port of Corpus Christi has purchased 75 percent of the land and properties. And so, they have forced people to leave. They sort of just came in and exploited the neighborhood even more. Not only were we around traffic and the interstate system…but now you are building the bridge around us?"
Taylor, who took the buyout but still owns properties in Hillcrest, said the City of Corpus Christi did not care about the neighborhood because it was predominantly African American. "Why are you forcing me to move?" Taylor said.
Justine Knox finds the vacant lots haunting. "There were doctors, teachers, hard-working people over in this neighborhood that took pride in this neighborhood when they came here. And I guess I saw the same thing when I bought the house." But between the bridge and the refineries, she said, she finds the future uncertain.
Knox often finds herself staring at the unkempt lawn of a nearby park named after H. J. Williams, the doctor who delivered her 57 years ago. "They were supposed to come and put new swings and basketball courts, and picnic areas," she said. "But it never happened."
"I just need you to keep your pollution at bay. Just do what we the taxpayers pay you to do." Knox added, "I can get up and go to work every day, me and my husband, to take care of the rest."
Valley News – Hartford committee pitches plan for town to fight climate change
California Deploys First Class of Climate Action Corps Fellows for 2021 Summer of Service


When Jen let me know she saw my little face in Lucky Magazine, I jumped up and down in my seat with excitement! These photos are from the Lucky Fabb conference that I attended a few months ago. You can see me bottom right snapped holding up a pair of converse sneaks I couldn't tear myself away from. Thanks for featuring me Lucky. Your are THE BEST!
I Don't Wear Jeans - VERY cool! Congratulations!
steffy - that is really amazing kim! congrats on the feature!
Plami - This is so cool 🙂 You look lovely!
Kendra - Ahh thats so cool! Congrats!
Running on Happiness - That is SO flipping exciting! Congrats on the feature!! You rock!
CessOviedo - Wow! Congrats on the feature, those converse are so cool, they are leopard printed right? I'm not much of a converse gal but I saw those at macy's and fell for them, edgy love!
Bellesme - soo cool!! Congrats!