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The Small Business Development Center (SBDC) at the Chicagoland Chamber recently shared the following list of frequently asked questions in preparation for the next round of PPP funding developed by their small business partner Wintrust Financial Corp.
Does Wintrust plan to participate in this next round of PPP?
Yes, Wintrust and its family of charter banks will facilitate access to PPP loans as it did in the previous rounds of the program.
When will Wintrust begin accepting applications for new PPP loans?
Like all lenders, we are awaiting the new forms and guidelines from the SBA for this next round. We anticipate receiving this information on or just before January 6. We anticipate beginning to accept applications shortly after based on the SBA's timeline for opening its application portal. Clients should check wintrust.com for regular updates on the timing.
Will Wintrust accept PPP loan applications from new customers?
We plan to bring the same commitment, innovation and sense of urgency to bear for organizations that qualify for this new round of PPP. Given the time and resources required to fulfill regulatory requirements applicable to new customers, priority – at least initially – will be given to existing clients, and we recommend that you consult your existing lender for the most expeditious PPP loan application processing. Once we see the demand for the new round of PPP loans, we will extend participation to new customers as our resources allow. We will communicate participation updates via wintrust.com.
Does an organization's existing PPP loan need to be paid-off before they can receive a second draw?
Organizations that received PPP loans previously and still have outstanding loan amounts are eligible for the second draw if they qualify. We recommend that those organizations consider submitting their application for forgiveness of the first loan as soon as practicable based on the advice of their financial, legal or tax advisors.
When will my remaining PPP loan balance be paid off by the SBA?
For borrowers who have or plan to seek partial or full forgiveness of their loans from the SBA, the SBA has 90 days under their guidelines to make its forgiveness decision from the date that it receives an organization's forgiveness submission. Once the SBA determines the forgiveness amount, the borrower then has the period prescribed in the promissory note to pay off any remaining amount.
The borrower had a balance owing after forgiveness due to the netting of an EIDL advance. Should the borrower continue to make payments on this loan? If not, are there any negative consequences?
Forgiveness payments with "Payment Confirmed" status of December 28 or earlier will contain the EIDL advance deductions in the forgiveness amount. The SBA has not provided information on how and when it will reimburse the EIDL advance to borrowers who have already completed the forgiveness process. Additional detail is due by law on or about January 11 (15 days from December 27). We'll only know more on this issue once the SBA issues further information. Wintrust stands ready to do our part in whatever process the SBA may lay out to facilitate required EIDL advance reimbursements.
The borrower paid off the remaining EIDL advance portion remaining on their PPP loan. How will the organization get reimbursed by the SBA? Will funds flow through the bank like the forgiveness proceeds or will the organization be paid directly?
The SBA has not provided information on how and when it will reimburse the EIDL advance to borrowers who have already completed the forgiveness process or paid off the EIDL advance. Additional detail is due by law on or about January 11 (15 days from December 27). We'll only know more on this issue once the SBA issues further information. Wintrust stands ready to do our part in whatever process the SBA may lay out to facilitate required EIDL advance reimbursements.
What organizations can apply for the new round of PPP?
Businesses, some nonprofit organizations (now including 501(c)(6) organizations), self-employed workers and independent contractors are among those eligible. Existing PPP borrowers may apply for a second loan, provided they have 300 or fewer employees and can demonstrate they experienced a 25% reduction in gross receipts during a quarter in 2020 compared with the same quarter in 2019. First-time PPP borrowers will be subject to the program's original eligibility rules. The original PPP program was generally open to businesses with up to 500 employees, and there was no requirement to demonstrate a revenue loss.
How much is a business eligible for?
The maximum for second-draw loans is $2 million, less than the $10 million cap for PPP's first round. Loan amounts will be based on an applicant's payroll, consistent with the program's original terms.
Second-time PPP borrowers will generally be eligible to borrow an amount equal to 2½ times their average monthly payroll costs, up to $2 million. A notable exception: Applicants in the accommodation and food services industries, as designated by the SBA, are eligible for loans equal to 3½ times their average monthly payroll, up to $2 million.
What are the forgiveness requirements?
Borrowers are still required to spend at least 60% of the funds on payroll to receive full forgiveness. The other 40% may be used on eligible costs. As before, these costs include certain mortgage expenses, rent and utility payments. The bill expands forgivable expenses to include expenditures for group life, dental, disability and vision insurance; personal protective equipment and other gear to protect workers; supplier costs; operations expenditures, such as software; and property damage costs due to public disturbances during 2020. Borrowers remain responsible for any amount not forgiven by the SBA.
Importantly, the legislation also clarifies that businesses that received PPP loans may take tax deductions for the expenses covered by forgiven loans. In making the decision to apply for this latest round of PPP, organizations should consult with their legal, tax, accounting, or financial advisors, as necessary.
What about minority owned businesses or LMIs?
Wintrust and its charter banks have and will continue to make serving these clients a priority. The new law allocates $15 billion each to community lenders and small depository lenders to issue loans. Lawmakers have said community lenders, such as community development financial institutions, are a key pipeline for PPP loans in minority and rural communities as well as businesses that may not have ties to traditional lenders. The bill also earmarks a portion of the PPP funding for both first- and second-time borrowers with 10 or fewer employees and loans of less than $250,000 in low-income areas. We await more specific information from the SBA on how these priorities will be addressed in the program guidelines.
Anything else to know?
The law provides a simplified forgiveness process for PPP loans under $150,000 for this round of loans. These borrowers will need to complete a one-page certification attesting they complied with program requirements, along with providing other information. Previously, the SBA and the Treasury issued a two-page forgiveness form meant to simplify the process for borrowers with loans of up to $50,000. We will know more details when the SBA issues the new forms and guidelines on or about January 6.
What other forms of small-business aid are available?
The legislation provides $15 billion for the SBA to make grants to hard-hit live venue operators, such as theaters and live performing arts organizations. It also provides $20 billion for advance grants for applicants to the SBA's economic-injury disaster loan program. It important to note that organizations can receive either a grant or a PPP loan, but cannot receive both.
Finally, the bill extends a provision that pays the principal and interest on behalf of borrowers that have certain SBA loans, such as 7(a) loans. It provides support for the 7(a) program by increasing the amount of the SBA's guarantee for lenders. Additionally, the SBA is waiving their borrower fees on SBA 7(a) loans until September 30, 2021.
The Illinois SBDC at the Chicagoland Chamber offers no-cost one-on-one advising for small business owners and entrepreneurs. Chamber membership is not required to take advantage of SBDC services.


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The way it was: Today in history - July 7
Scopes "Monkey Trial"
Throwback Thursday: A look back in history on July 7, including the Hoover Dam construction, Lt. Col.Oliver North testifying in the Iran Contra scandal and Alaska on its way to statehood.
Dudley Field Malone, left, Dr. John K. Neal, center, and Clarence Darrow, attorneys for the defense in the John Scopes evolution trial, confer in Chicago on July 7, 1925.
Scopes, a high school science teacher in Tennessee, went on trial for violating state law by teaching evolution. The law, passed in March of that year, made it a misdemeanor to teach any theory that denied the story of Divine Creation as taught in the Bible. It was billed as one of the most famous trials in U.S. history with the well known Darrow working with the ACLU while three-time Democratic presidential candidate, William Jennings Bryan, took up the cause for the prosecution. The Trial began on July 10. Scopes was found guilty and fined $100.
By CBSNews.com Senior Photo Editor Radhika Chalasani
Hoover Dam construction begins
Secretary of the Interior Ray Lyman Wilbur drives the last spike, made of silver, into the railroad leading from Las Vegas to the site of the Hoover Dam - also known as the Boulder Dam, September 19, 1930. Construction on the $165,000,000 dam project began July 7, 1930. Left to right: Congressman William Eaton, of Colorado; Senator Key Pittman, Nevada; Secretary Wilbur, and left Senator Samuel Shortridge.
The dam took five years and more than 20,000 workers to build. It was named after Herbert Hoover, the 31st American president, because of his crucial role in bringing the project to fruition.
Millionaire sportsman Howard Hughes climbs into his XF-11 reconnaissance plane just before taking off from the airfield beside his Culver City, California aircraft factory July 7, 1946, on the plane's maiden test flight.
The test hop ended 45 minutes later in a crash. Hughes, who had designed the plane for the U.S. Air Force, was critically injured, clipped three houses, completely destroying the third by fire. Only two prototypes of the plane were ever built.
Credit: Ira W. Guldner/AP
Satchel Paige birthday
Leroy "Satchel" Paige (R), signed by the Cleveland Indians, talks with Bob Feller in the dugout before the game with Chicago in Cleveland on July 7, 1948. Paige, the first player from the Negro American League to pitch in the Major League Baseball World Series, was born on July 7.
Cleveland President Bill Veeck, who purchased Paige's contract from the Kansas City Monarchs of the Negro American League, helped confirm Paige's birthdate in 1948 when he personally went to Alabama's County Health Department in Mobile along with Paige's family to acquire a copy of the birth certificate.
Adolf Hitler's car
A Mercedes-Benz automobile, formerly owned by Adolf Hitler, is raised by crane and placed in the window of the Museum of Science and Industry in the RCA Building at Rockefeller Center in New York City, July 7, 1948.
The car went on display in the museum for the benefit of Greek war orphans at Athens College in Athens, Greece. At left, behind the crane, is the International Building, and behind that is the spire of St. Patrick's Cathedral. The car was purchased in Sweden by Christopher Janus of Chicago.
Credit: Ray Howard/AP
Gen. Douglas MacArthur gives the keynote address for the Republican Party at the National Amphitheater in Chicago on July 7, 1952.
Author Dale Carnegie
Author Dale Carnegie reads his book "How to Win Friends and Influence People" in Chicago on July 7, 1955.
Carnegie was at the National Convention of the Sale Carnegie Institute of Effective Speaking and Human Relations which was attended by 150 representatives who operate Carnegie public speaking classes throughout the world. It was one of his few public appearances.
Prince Rainier, Princess Grace
Prince Rainier and Princess Grace of Monaco descend the steps of Monaco Cathedral on July 7, 1956, after a service in their first public appearance since their wedding three months before. Behind them, center, is Princess Antoinette and other unidentified personalities.
Alaska statehood bill
U.S. President Dwight D. Eisenhower takes a close look in his White House office in Washington, D.C. at the 49-star flag which will be raised over Philadelphia's Independence Hall on July 4, 1958 and then taken to the state capitol in Alaska. The group, from left to right: Maj. Gen. A.T. McNamara, quartermaster general; the president; Secretary of Interior Fred Seaton; and Sen. Hugh Scott (R-Pa.). The chief executive presented the flag to Scott for the Philadelphia ceremony.
On July 7, Eisenhower signed the Alaska statehood bill, paving the way for the territory's admission to the Union.
Credit: Bob Schutz/AP
Hemingway's funeral
Close friends of famed author Ernest Hemingway carry the author's casket to his final resting place in the Ketchum cemetery in Idaho, July 7, 1961.
Most of the friends are little known men and residents of Ketchum, where the author made his home. Preceding the dark, grey metal casket are three acolytes and Father Robert J. Waldman, who conducted the Catholic rites. At the rear of the casket is Ray McGoldrick, Hailey Mortician and Blaine County. Acolyte at the left, Clifford Goicoechea, fainted during the Service.
Credit: Harold Filan/AP
Adolf Eichmann pleads
German Gestapo officer Adolf Eichmann pleads for mercy July 7, 1961, during his trial in Jerusalem for war crimes against Jews. Under cross-examination, he tells the court he is guilty as an accomplice in the Nazi slaughter of six million Jews during World War II. He was sentenced to death and hanged at Ramleh Prison, May 31, 1962.
Billie Jean King's 20th Wimbledon title
Martina Navratilova and Billie Jean King, right, celebrate after receiving the chamionship trophy from the Duchess of Kent, left, for their victory in the women's doubles final on center court at Wimbledon, England, July 7, 1979. Navratilova and King of the U.S., defeated Betty Stove of Holland and Wendy Turnbull of Australia.
The victory is a record 20th Wimbledon title for King.
Credit: Bob Dear/AP
Oliver North - Iran Contra
Lt. Col. Oliver North is sworn in before the Iran Contra Committee prior to his testimony in Washington, D.C., July 7, 1987.
North testified that he "never personally discussed" the diversion of Iranian arms sales profits to Contra rebels with President Reagan and he "never carried out a single act, not one" without authorization from his superiors.
Credit: Lana Harris/AP
Zapruder film
Alan Lewis, a National Archives preservation specialist, holds what is believed to be Abraham Zapruder's original movie of President Kennedy's assassination July 7, 1998 at the Archives storage facility in College Park, Maryland.
The film is kept at the National Archives in a 25-degree room alongside color footage of man landing on the moon and home movies taken by Adolf Hitler's mistress.
Credit: Nick Wass/AP
London bombing
The wreck of the Number 30 double-decker bus is pictured in Tavistock Square in central London, July 8, 2005.
On July 7, 2005, four suicide bombers, with backpacks of explosives, carried out coordinated attacks on the bus and the London underground, killing 52 people and injuring hundreds. The day is often referred to as 7/7.
Credit: Dylan Martinez/AFP/Getty Images
U.S. Army Pfc. Lynndie England, front, walks out of the judicial complex with her defense team Capt. Katherine Krul, back, and Xavier Amador, right, after a pretrial hearing in her court martial at Fort Hood, Texas, July 7, 2005. The military judge ruled on several motions brought up by her defense council.
England was seen in widely published photos, which included one with a prisoner on a leash, from Iraq's Abu Ghraib prison. She was convicted on September 26, 2005 on one count of conspiracy, four counts of maltreating detainees and another count of committing an indecent act. England was sentenced to three years and given a dishonorable discharge. She was paroled after 521 days.
Seven other members of the same company were also charged with offenses in the prisoner abuse scandal.
Credit: Lm Otero/AP

redpajama_set_name: RedPajamaCommonCrawl


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Articles by Philip Coppens
Van Eyck: The Painting Heretic?
Unknown Masters Van Eyck: The Painting Heretic?
Jan Van Eyck is considered as one of the founders of modern painting techniques. But Van Eyck is also known as an alchemist and may have left us with a powerful, magical talisman: The Adoration of the Lamb.
by Philip Coppens
When Clive Prince contacted me in May 1995 to contribute certain material for the then not yet published "The Templar Revelation" – which since has gone on to inspire the likes of Dan Brown – I also became introduced to the idea of the existence of an "underground heretical stream" that ran throughout Western society. This "resistance movement" was attacking the Christian religion, though not openly. Clive and his co-author Lynn Picknett had begun to pay particular reference to the Florentine painter Leonardo da Vinci. Some months later, my attention was drawn to a painting by Jan Van Eyck, "The Adoration of the Lamb". In 1993, I had helped in the production and publication of a pivotal book on the theft of one panel of this painting, "The Just Judges", which is one of the great unsolved crimes of the 20th century. Soon, evidence began to collate that drew us to the conclusion that if Leonardo da Vinci had been exposed to a secret doctrine about an alternative point of view on Christianity, Van Eyck seemed to be too – if not more so.
Art historians have designated this 14th century Flemish painter as the founder of the "Flemish Primitives", which was a new style of art that would revolutionise painting ever after. What singled out Van Eyck and Da Vinci was that both were using oil paints in a manner unlike anyone else at that moment in time. Decades ago, art historians had speculated that both men were somehow aware of or communicating with each other, and exchanges details about their oil paints. Indeed, Van Eyck would, for a long time, be seen as the inventor of the oil painting technique, though it is now known that he was "merely" the first who brought its techniques to unrivalled heights. His innovative mastery of painting with oil rather than water would find its way to Italy, where it entered the Verrocchio study in Florence, where the likes of Leonardo learned to master it. This trail from Flanders to Florence is an intriguing connection, in which there was an exchange of techniques – trade secrets – passed on between colleagues, but not between Leonardo and Van Eyck, but, it seems, between Verrocchio's studio and Van Eyck. But were it merely trade secrets that were passed on, or also other knowledge – maybe even heretical, dangerous knowledge? Nowhere is Van Eyck's master more on display than in "The Adoration of the Lamb". The presumed patrons of this painting are the Flemish banker Judocus Vijdt and his wife, who on the panel are depicted as worshipping John the Baptist and John the Evangelist. The "Ghent Altarpiece", as it is alternatively known, is located in the city's Saint Bavo's cathedral. In the 15th century, however, the church's patron saint was John the Baptist and today, the crypt remains dedicated to John the Baptist. The painting was officially installed in the church on May 6, 1432, which was the feast-day of John the Evangelist. This seemed to straightforwardly remove any esoteric connection to the painting… or did it?
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The Italian 16th century art historian Giorgi Vasari described Van Eyck as "an alchemist", which suggests that he was exposed to non-orthodox material – which is exactly what the then secret societies were all about. This statement, that Van Eyck was an alchemist, was echoed by Karel van Mander in 1604. One group of Freemasons has noted that Van Eyck is also the only painter who, as far as they have been able to trace, actually depicted a working lodge: a sheltered place at the foot of a tower, in a drawing by Van Eyck of Saint Barbara. Saint Barbara was considered by many to be the patron saint of alchemists (though this was of course never officially ratified by the Church!) and she also features on the Ghent Altarpiece.
The central aspect of alchemy concerned a combination of prayer, study and working hands-on with matter. Its motto was "Pray, Read, Read, Read, Read Again and You Shall Find" and underlined a symbiosis of science and religion.
Was the incorporation of elements related to John the Baptist a veiled hint that Van Eyck was indeed part of this "underground stream" in Western Europe? Whereas it was known that this knowledge lay at the origins of the Florentine Renaissance, the origins of this movement was seen as knowledge coming in from Byzantium… not Flanders. So if Van Eyck knew, how did he know? Could it be that the underground stream had been present in Europe much longer, before the exposure to Byzantine knowledge at the Council of Florence in 1439?
Little if anything is known about the circumstances in which Van Eyck made "The Adoration of the Lamb" – and whether he himself painted it or merely finished the painting that had been started by his brother, as an inscription on the painting suggests. Marc Penninck actually argues that this brother, Hubert, was not his brother at all. He argued that Hubert Van Eyck was actually the real name of Jan Van Eyck; he interpreted the inscription that Van Eyck began the painting when his name was "Hubert", but that when he became a "brother", i.e. a member of an esoteric society, he changed his name to Jan (John). This possibility is a sound alternative for the existing speculation, as it resolves several problems, rather than creating further mystery, as most other theories by art historians had done, who had merely assumed a genuine Hubert Van Eyck had to exist, as Jan Van Eyck had stated as such on the painting. Though this theory comes with its own flaws, just like the more "accepted" theories, what is clear, is that Penninck's will not go down well within the art world.
Still, let us note that adopting a new name was customary in many initiatory organisations. What was, of course, highly interesting was that if Van Eyck did change his name, he chose the name "John": on the very painting where the inscription was found, he had painted Vijdt and his wife as worshipping the two Johns. Furthermore, in later centuries, the stories went that the Knights Templar had made contact in the Middle East with religious communities that were specifically followers of John the Baptist… their leaders taking on the name "John"! In 1430, when Van Eyck was working on his masterpiece, his patron Philip the Good established the Order of the Golden Fleece, a chivalric order based on the English Order of the Garter. The order was created to celebrate Philip's marriage to the Portuguese princess Isabel of Aviz. Why he settled on the image of the Golden Fleece has never been fully explained. Let us note that Philip the Good himself was interested in alchemy and it is known that in his palace in Brussels, he had asked for the installation of an "alchemical room". Interestingly, the story of the Order of the Golden Fleece has been labelled as being of extreme importance to the alchemist's quest. They used the symbol of the Golden Fleece to symbolise the descent of the Divine down the Tree of Life into our reality, underlining the belief that the divine was reachable on this plane of existence – a concept that was anathema to the Roman Christian mind, who believed that access to the divine was impossible.
The Golden Fleece, of course, was also directly linked with the lamb and the symbol of the Order was indeed a lamb. Was – is – the Ghent Altarpiece more than merely a commission for Vijdt? Could it be linked with the foundation of Van Eyck's patron of the Order of the Golden Fleece? Philip had no fixed capital and moved the court between various palaces, the main urban ones being Brussels, Lille and Bruges. He held grand feasts to show off his power to his subjects, and the knights of his Order frequently travelled throughout his territory participating in tournaments. He was known to the Arnolfini family of Bruges, for in the period from 1444-6, he is estimated to have spent a sum equivalent to two percent of Burgundy's main tax income over those years with Giovanni di Arrigo, supplying him with silk and cloth of gold. Several years before, Van Eyck had painted a famous portrait of Arnolfini and his wife, currently on display in the National Gallery of London, and featured in the movie "V for Vendetta".
Van Eyck had entered the service of Philip the Good following the death of John of Bavaria in 1425. He resided in Lille for a year and then moved to Bruges, where he lived until his death in 1440. Intriguingly, where precisely Van Eyck lived in Bruges has never been established. In 1428, Van Eyck travelled to Portugal to paint King John I's daughter Isabella before Philip married her – the marriage that would result in the Order of the Golden Fleece.
As a painter and chamberlain, Van Eyck was exceptionally well paid and he felt no need to inscribe himself in the local guild of painters. His annual salary was quite high when he was first engaged, but it doubled twice in the first few years and was often supplemented by special bonuses. An indication that he was held in extraordinarily high regard is a document from 1435, in which the Duke scolded his treasurers for not paying Van Eyck his salary, claiming that Van Eyck would leave and that he would nowhere be able to find his equal in his "art and science". The use of the word "science" may refer to Van Eyck's revolutionary painting techniques, but it would suggest knowledge outside the confines of painting. Though no-one doubts that Van Eyck performed certain missions other than painting portraits for the Duke, the exact nature of these missions is unknown. Finally, it is clear that both men were very close, for the Duke served as godfather to one of Van Eyck's children, supported his widow upon the painter's death and years later helped one of his daughters with the funds required to enter a convent. One could almost argue that the two were like "Brothers"…
So though it appears that "The Adoration of the Lamb" is a commission for the Vijdt family, it is known that Van Eyck, at the time of painting it, was actually employed by Philip the Good. Whereas it would not have been impossible for Vijdt to commission Van Eyck (definitely not if Vijdt was on friendly terms with the Duke), Van Eyck was largely a portrait painter. And a portrait took far less time than the enormous amount of time and energy that Van Eyck spent on painting this altarpiece. Rather than a small diversion of a few weeks or even a few months, this commission would take him years to complete. Would his patron and friend have agreed to such a commission? Or was his patron instead in agreement that this work was somehow special and "had" to be done? If Van Eyck tried to hide a secret doctrine in his paintings, he had far fewer occasions than Leonardo, whom seldom painted portraits – the Mona Lisa being a notorious exception. For Van Eyck, we should begin with the Arnolfini portrait. Some have seen this as a normal wedding portrait, whereas others have interpreted it as an "alchemical wedding". Indeed, we note that the Arnolfini wife is pregnant with child, which normally, though not always, suggests they had been married for some time previously. The painting is definitely replete with symbols, such as the solitary flame burning in bright daylight, which can be interpreted as the bridal candle; there is St Margaret (the patron saint of women in childbirth), whose image is carved on the chair. The companion dog is seen as a symbol of faithfulness and love; even the discarded shoes are not thought to be incidental, but to signify the sanctity of marriage. But with so many details, what is the overall message? The portrait could have been seen as a talisman for the couple and their unborn child – in the tradition of Renaissance art, as practiced by Botticelli, who asked Ficino for magical elements to be incorporated into his paintings – just like John North has retraced other specific – this time scientific – elements present in Hans Holbein's "The Ambassadors". But none of the symbolism in this Arnolfini portrait is esoteric or Hermetic, and though it is an incredible portrait, specifically the detail that has gone into painting the mirror, it seems this is a portrait, rather than a talisman.
Another painting is "Our Lady with the Canon van der Paele", from the ancient Cathedral of St. Donatien, finished in 1436 and thus postdating the Ghent Altarpiece. It was originally going to be the decoration for a funerary chapel, but then became an altar piece for the St Donatien Church in Bruges, where Van Eyck himself would be buried (the Church was later destroyed and stories that its crypt was used as a secret meeting for "alchemists" are rife, but never substantiated). We note that the Virgin is depicted in red, rather than her usual blue. Blue was seen as female; it was also the colour of water, in Latin "mare" – "Mary". Red on the other hand was the colour of blood, hence of sacrifice, but also of love. Here, we may therefore have an element of "non conformance" – but hardly more than that.
If there is any evidence of an "esoteric predisposition", it is indeed the "Adoration of the Lamb" that was the only painting where Van Eyck would be able to express it. Apart from direct though obscure references to the Knights Templar and John the Baptist, the three central upper panels should be our main focus of attention. The altarpiece was closed during the week (revealing the Vijdt family adoring the two Johns), but opened on Sundays, when it showed this central upper pannel. It had the Virgin Mary to the left, John the Baptist to the right, with the central figure normally identified as Jesus. Though some elements of this figure could refer to Jesus, other elements clearly refer to God, or a king – the consensus thus opting for "Jesus depicted as king". But equally, it is noted that though Van Eyck wanted to paint a figure that could be identified – or misidentified – as both Jesus and God, this was actually uncommon in Medieval or Gothic paintings. And when we note that the "underground stream" in Western society were specifically not fans of Jesus… alarm bells should begin to ring.
What to think of the presence of the lamb which is bleeding and whose blood is captured in chalices? References to the Holy Grail? The inscription on the fountain reads (in Latin) "this is the source of the water of life, originating from the seat of God and the lamb". Further references to the Holy Grail and its gift of Eternal Life?
Though the list of "esoteric coincidences" is growing longer, the key is actually hidden in one of the tiles of a floor, in which almost invisible and definitely not meant to be obvious to the eye, the word "AGLA" was written. AGLA was a protective magical formula, a Kabbalistic acronym of the biblical phrase "Ateh Gibor Le-olam Adonai", "The Lord is mighty forever". And though it may not appear to be much, with the presence of a magical formula, suddenly, it is obvious – proven – that this painting is indeed a magical talisman, in the same category as Bottticelli's paintings that would inspire some to label him a grandmaster of the imaginary Priory of Sion. Let us return to our central figure, which could be Jesus depicted as a king. His depiction seems to have been inspired by Byzantine iconography – taking us back to the likely origins from where the heretical knowledge entered 14th century Europe. But of specific interest is Revelations 19:12-16: "His eyes [were] as a flame of fire, and on his head [were] many crowns; and he had a name written, that no man knew, but he himself. And he [was] clothed with a vesture dipped in blood: and his name is called The Word of God. And the armies [which were] in heaven followed him upon white horses, clothed in fine linen, white and clean. And out of his mouth goes a sharp sword, that with it he should smite the nations: and he shall rule them with a rod of iron: and he treads the winepress of the fierceness and wrath of Almighty God. And he hath on [his] vesture and on his thigh a name written, KING OF KINGS, AND LORD OF LORDS." Though we do not see his thigh, Van Eyck did write a sentence from these verses on this figure's "vesture" – his mantle – evidence that we are indeed in front of the "King of Kings"… who may or may not be Jesus.
This brings us to the conclusion that what Van Eyck seems to be referring to, is the "Apocalyptic Lamb" – which even from a "basic symbolic" perspective adds a new symbolic dimension to the painting. However, let us take it one step further – and perhaps one step too far. It is known that the "underground stream" was a mixture of Kabbalistic, astrological and scientific information. And within this framework, the Lamb becomes linked with the constellation Aries. This constellation is the first to appear at the vernal equinox. But because of the precession of the equinoxes, the Lamb is always "slain" for a new constellation at each new zodiacal age. And so it is at each new spiritual Age, and so it is that it is incorporated as a symbol of the end of one and the beginning of a new age. Hence, did Eyck paint a magical talisman that would accompany a "New Age"? For surely that is what the creation of the Order of the Golden Fleece was meant to herald too? And when we note that it was the constellation Aries that was identified with the Golden Fleece… we suddenly see the pagan, astrological-astronomical dimension shining through on these wooden panels.
And it may thus just be that Van Eyck not only introduced oil painting to the Florentine Renaissance artists, but that he may also have introduced the notion of incorporating Hermetic messages into paintings to that city. And if "The Adoration of the Lamb" was indeed meant to be a magical talisman for a New Age, then he was indeed the man who seeded and initiated that age…
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January 16, 1943: Brian Ferneyhough is born in Coventry, Warwickshire, United Kingdom, the son of Frederick George Ferneyhough and Emily May Hopwood.
July 1, 1967: Prometheus for wind sextet by Brian Ferneyhough (24) is performed for the first time, in London.
March 24, 1974: Missa brevis for twelve vocal soloists by Brian Ferneyhough (31) is performed for the first time, in Royan.
March 27, 1974: Sieben Sterne for organ by Brian Ferneyhough (31) is performed for the first time, in Royan.
March 29, 1974: Cassandra's Dream Song for flute by Brian Ferneyhough (31) is performed for the first time, in Royan.
March 23, 1975: Sonatas for string quartet by Brian Ferneyhough (32) is performed for the first time, in Royan, France. Also premiered is Ferneyhough's Transit for six voices, flute, clarinet, and orchestra.
March 23, 1976: Unity Capsule for flute by Brian Ferneyhough (33) is performed for the first time, in Royan.
April 7, 1977: Time and Motion Study I for bass clarinet by Brian Ferneyhough (34) is performed for the first time, in Royan.
October 21, 1977: Time and Motion Study II for cello and electronics by Brian Ferneyhough (34) is performed for the first time, in Donaueschingen.
September 20, 1979: La Terre est un homme for orchestra by Brian Ferneyhough (36) is performed for the first time, in Glasgow.
October 2, 1980: String Quartet no.2 by Brian Ferneyhough (37) is performed for the first time, in Venice.
June 29, 1981: Lemma-Icon-Epigram for piano by Brian Ferneyhough (38) is performed for the first time, in La Rochelle, France.
September 1, 1982: Superscriptio for piccolo by Brian Ferneyhough (39) is performed for the first time, in Venice.
June 28, 1984: Adagissimo for string quartet by Brian Ferneyhough (41) is performed for the first time, in La Rochelle, France.
February 7, 1985: Carceri d'Invenzione IIa for flute and chamber orchestra by Brian Ferneyhough (42) is performed for the first time, in Milan.
September 30, 1985: Études transcendantales, Intermedio II for soprano, flute, oboe, harpsichord, and cello by Brian Ferneyhough (42) is performed for the first time, in Venice.
October 17, 1986: Three works by Brian Ferneyhough (43) are performed for the first time, in Donaueschingen: Mnemosyne for bass flute and tape, Carceri d'Invenzione III for chamber ensemble, and Intermedio alla ciaccona for violin. They are premiered as part of the first complete performance of the Carceri d'Invenzione Cycle.
October 7, 1987: String Quartet no.3 by Brian Ferneyhough (44) is performed for the first time, in Paris over the airwaves of Radio France.
September 29, 1988: La Chute d'Icare for clarinet and seven players by Brian Ferneyhough (45) is performed for the first time, in Strasbourg.
March 1, 1990: Trittico per G.S. for double bass by Brian Ferneyhough (47) is performed for the first time.
October 23, 1990: String Quartet no.4 with soprano by Brian Ferneyhough (47), to words of Mac Low, is performed for the first time, in Basel.
February 19, 1992: Bone Alphabet for percussion by Brian Ferneyhough (49) is performed for the first time, in Mandeville Auditorium, La Jolla, California.
April 22, 1992: Terrain for violin and eight players by Brian Ferneyhough (49) is performed for the first time, in the Concertgebouw, Amsterdam.
September 3, 1994: On Stellar Magnitudes for mezzo-soprano, flute/piccolo, clarinet/bass clarinet, piano, violin, and cello by Brian Ferneyhough (51), to his own words, is performed for the first time, at Royaumont.
November 21, 1996: String Trio by Brian Ferneyhough (53) is performed for the first time, in Paris.
September 18, 1999: Carceri d'Invenzione IId for recorder by Brian Ferneyhough (56) is performed for the first time, at Royaumont.
September 9, 2000: The Doctrine of Similarity for chorus and six players by Brian Ferneyhough (57), to words of Charles Bernstein, is performed for the first time, at Royaumont.
June 13, 2001: Stelae for Failed Time for twelve voices and electronics by Brian Ferneyhough (58), to words of Charles Bernstein, is performed for the first time, in Paris.
August 9, 2003: Les Froissements des Ailes de Gabrielle for guitar and chamber ensemble by Brian Ferneyhough (60) is performed for the first time, in Brisbane.
January 13, 2004: Seven Tableaux Vivants Depicting the Angel of History as Melancolia for chamber ensemble by Brian Ferneyhough (60) is performed for the first time, at the Musée d'Orsay, Paris.
May 25, 2004: Shadowtime, an opera by Brian Ferneyhough (61) to words of Charles Bernstein, is performed for the first time, in Munich.
May 10, 2005: Two works are performed for the first time, in Zankel Hall of Carnegie Hall, New York: Orphée for ensemble and electronics by John Zorn (51), and O Lux for instrumental ensemble by Brian Ferneyhough (62).
May 7, 2006: String Quartet no.5 by Brian Ferneyhough (63) is performed for the first time, in Witten.
October 20, 2006: Plötzlichkeit, for solo voices and orchestra by Brian Ferneyhough (63) is performed for the first time, in Donaueschingen.
May 3, 2007: Brian Ferneyhough (64) is awarded the Siemens Prize for music in a ceremony in Munich.
October 18, 2008: Chronos-Aion for instrumental ensemble by Brian Ferneyhough (65) is performed for the first time, in Donaueschingen.
October 16, 2010: String Quartet no.6 by Brian Ferneyhough (67) is performed for the first time, in Donaueschingen.
July 22, 2012: Liber Scintillarum for flute, oboe, clarinet, violin, viola, and cello by Brian Ferneyhough (69) is performed for the first time, in Darmstadt.
November 12, 2012: Finis Terrae for six voices and instrumental ensemble by Brian Ferneyhough (69) is performed for the first time, in Opéra Bastille, Paris.
January 23, 2013: Liber Scintillarum for instrumental ensemble by Brian Ferneyhough (70) is performed for the first time, in Berlin.
November 17, 2013: Schatten aus Wasser und Stein for quarter-tone oboe and string quartet by Brian Ferneyhough (70) is performed for the first time, in St. Paul's Hall, Hudderfield.
February 7, 2014: Quiri—Study in Self-Similar Rhythms for piano by Brian Ferneyhough (71) is performed for the first time, in Stuttgart.
1971: On Time and the Instrumental Factor for orchestra by Morton Feldman (45) is performed for the first time, in Dallas.


In order to install the Vimeo app, you will need to have macOS 10.12 (Sierra) or higher. Older versions of macOS are not compatible.
The Final Cut Pro sharing feature is only supported in Final Cut X (10.0 or higher). We recommend checking the Mac OS App Store to ensure you're running the latest version. Legacy versions of Final Cut (Pro and Express, v. 7.0.3 and earlier) are not supported.
The Vimeo app can be downloaded from the Mac OS App Store here.
You can also open the App store, search for "Vimeo" and click "Get" under the icon that appears. Once that button turns green, click "Install App." The Vimeo app is free, so it should start downloading to your Mac immediately.
The first time you open the Mac OS app, you'll be prompted to login to your Vimeo account.
Your account is now connected! Restart Final Cut to see the new Vimeo share destination.
You may have previously connected Vimeo to Final Cut using the older option built by Apple (shown with a blue Vimeo logo).
The new share destination will labeled as "advanced," and offers more sharing options, the ability to replace a video, and mostly important, the ability to connect with the Vimeo macOS app.
You can still continue to use the old sharing destination, but please note that it cannot be used in conjunction with the Vimeo macOS App, and so we do not recommend it. If you'd like to remove the old destination to avoid confusion, you can do so by selecting File > Share > Add Destination. Just highlight the destination you want to remove, and hit the "delete" button on your keyboard (you can always add it back by choosing "Add destination").
Once you've edited your video in Final Cut and you're ready to upload, click File > Share > Vimeo (advanced) in Final Cut's top navigation bar. You can also select the Share icon in the top right hand corner of your project.
In the new menu that pops up, you'll have the option to choose a video codec in the "settings" tab. Title information, description, and privacy options will come later!
For Format, we recommend choosing Video and Audio. The Video codec will be up to your own personal preference, but we recommend choosing H.264 or ProRes 422 HQ. You can read more about the differences between these codecs in our compression guidelines- https://vimeo.com/help/compression. ProRes files tend to be a lot larger (sometimes with no visible gain), so we suggest starting with H.264.
Keep in mind that Final Cut utilizes its own built in set of encoding presets for each video codec, so you will not have the option to set more customized options like audio/video bitrate, color space, or frame rate. Not to worry-- the default settings should produce a high quality output based on your project preferences.
Click next, and a small dialogue box will appear from the Mac OS panel. For new videos, enter your video's title, description, and your desired privacy setting. Choose "Start" once you've set those options.
If you'd like to replace an existing video, toggle to "Replace video," and then choose a video from your account.
Once your video file has been prepared for the app, you'll see a notification from Final Cut saying "Share successful." Please note that this message only indicates that your video has been shared successfully to the Vimeo app.
The upload process to Vimeo will begin once your video reaches the app (this should only take a few seconds). After the upload process is complete, your video will enter conversion.
💡 Tip: Upload time will depend on the size of your video file and your current Internet connection. Typically, conversion time will depend on the length of your file (e.g a 2 hour video should take around 2 hours to convert).
Once the conversion process is complete, a thumbnail for your video will appear along with other information about your file (duration, plays, and upload date). If your video's thumbnail does not populate in the app, try selecting the sync button next to notifications.
To start uploading videos directly from the app, first choose the upload icon (it looks like a cloud with an upward-pointing arrow). In the dialogue box that appears, select the exact videos you want to download. We recommend limiting your uploads to 10 at a time for the best performance. In the next menu that appears, you'll be required to individually enter your desired title, description, and privacy options. If you've selected multiple videos in the first step, you'll need to toggle through, choose your settings, and hit the "Start" button for each clip.
If you have multiple videos to upload at once, you can sync the Mac OS app to any folder on your computer. Once synced, all videos in that folder will be automatically uploaded straight to your Vimeo account in the app.
To sync a folder to the Mac OS app, select the Sync tab, then select a folder on your computer. From here, you can also select a default privacy option which will apply to all videos uploaded from the selected folder.
⚠Please note that only videos files in your folder can be automatically uploaded. Other files (such as text, captions, and image files) will be ignored.
You'll be able to see the progress for your uploaded videos directly from the app. Note that only a few files will be queued up at a time.
PRO/Business/Premium Members can also enable review pages. You can also customize your review page settings by disabling the Vimeo logo or notes.
*Captions cannot be disabled or uploaded via the app. Select "Configure" to open caption settings in your browser.
Custom embed settings like domain privacy and player controls are not currently available in the Vimeo app; however, you can visit Vimeo.com to choose default settings that apply to future or existing videos. Learn more here.
If you'd like to edit your video's title and description, you'll need to select the "Edit info" button first, which will then open a new dialogue box. Be sure to hit "Save" before moving on.
Once you're all set, choose "Save changes." These settings will then be applied to your video on Vimeo.
Click on any video in the "All videos" section of the app to preview your video. Please note that the preview player uses auto mode by default and will not display custom embed options like end screens, custom player controls, logos, etc.
In order to adjust the settings for any videos attached to a VOD page, you'll need to visit vimeo.com in your browser. You can modify some settings like title and description, but other custom settings (like privacy and VOD page features) are not supported in the app for VOD videos.
Live events have limited support in the app (this even applies to live events that have been archived). Settings cannot be adjusted, and videos cannot be previewed. If you click on a live event in your videos list, you will automatically be directed to the video page in your browser. You can only delete a live video, copy the video link, or obtain an embed code from within the app itself.
Locate the Vimeo app and drag it to the Trash.
Empty the Trash to permanently remove the app.


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'Thor' the Bulldog takes top prize at the National Dog Show
Updated 9:58AM
FOX 46 Charlotte
Bulldog named "Thor" wins the "Best in Show" at the Greater Philadelphia Expo Center on November 16, 2019 in Oaks, Pennsylvania. Featuring over 2,000 dog entrants across 200 breeds, the National Dog Show, now it its 18th year, is televised on NBC dir
Philadelphia, Pa. - 'Thor' the Bulldog came out on top at the 2019 National Dog Show where dozens of amazing breeds were showcased.
The beautiful bulldog beat out over 2,000 dogs from more than 193 breeds to claim his Best in Show award. Thor's six other competitors were a Havanese, a Siberian Husky, a Pharaoh Hound, a Golden Retriever, an Old English Sheepdog, and a Soft Coated Wheaten Terrier.
MORE HERE ON PETS & ANIMALS
A new breed was also introduced at the show this year, an Azawakh. Organizers said it's the only breed that's taller than it is long. The dog is reportedly bred in Africa as a hunter.
Eduardo Paris, a native of Peru, poses for a group photo as his Bulldog named "Thor" wins the "Best in Show" at the Greater Philadelphia Expo Center on November 16, 2019 in Oaks, Pennsylvania. Featuring over 2,000 dog entrants across 200 breeds, the
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The National Dog Show has aired after the Macy's Thanksgiving Day parade for the last 18 years.


text:
European elections: 54 candidates from eight parties contest seven seats in Eastern region
Published: 14:20, 08 May 2019
| Updated: 13:13, 14 May 2019
EU flag. (9207388)
Three weeks after having gone to the polls to elect district and town councillors, residents in Bishop's Stortford, Sawbridgeworth and Stansted will next week return to the ballot box for the European elections.
UK voters will have the opportunity on Thursday (May 23) to elect Members of the European Parliament (MEPs) – despite the country's decision in June 2016's EU Referendum to quit the European Union – after the UK's 27 fellow EU members agreed a Brexit delay until the end of October.
European elections are held every five years. Countries are allocated seats based roughly on their geographical area, so the smallest, Malta, has six members while Germany, the largest, has 96.
In all there are 751 MEPs and the UK has 73, including seven for the Eastern region, which includes Hertfordshire and Essex.
Since 1999, British voters have elected MEPs using the proportional representation system. In each region, seats are allocated to political parties according to their share of the vote. Parties rank their candidates in order, the number of candidates being no more than the number of seats allowed for each region.
There are 54 candidates in the Eastern region. The Conservatives, Labour, Liberal Democrats, Green Party, UKIP and two new parties – Change UK The Independent Group and The Brexit Party – have each put forward their maximum seven names. The English Democrats have named four candidates and there is one Independent.
Polling cards have been sent out and polling stations are the same as for the May 2 local government elections. Applications for a proxy vote must be made by today (Wednesday, May 15).
The Eastern region's current seven MEPs are Conservative trio David Campbell Bannerman, John Flack and Geoffrey Van Orden, Labour's Alex Mayer and UKIP's Stuart Agnew.
The two others, both of whom were elected under the UKIP banner in 2014, have since defected: Patrick O'Flynn joined the Social Democratic Party in November last year while Tim Aker is now a member of former UKIP leader Nigel Farage's Brexit Party.
The candidates for the region in next week's election include barrister Joe Rich, a Stansted resident and a former Conservative Uttlesford District Council member for the village. He contested the Stoke on Trent South seat for the Conservatives in 2015's General Election, finishing second behind Labour.
In the 2014 European elections, 36% of those eligible to vote in the UK did so, compared with 43% in the EU as a whole. That compares with a 66% turnout at the following year's General Election.
The Eastern region candidates standing next week are:
Change UK The Independent Group – Emma Taylor, Neil Carmichael, Bhavna Joshi, Michelle de Vries, Amanda Gummer, Thomas Graham and Roger Casale.
Conservative and Unionist Party – Geoffrey Charles Van Orden, John Christopher Flack, Joe Rich, Thomas Rhys Hughes McLaren, Joel Ralph Charles, Wazz Mughal and Thomas Roger Smith.
English Democrats – Robin Charles Tilbrook, Charles Jeremy Vickers, Bridget Lee Vickers and Paul Kevin Wiffen.
Labour Party – Alex Mayer, Chris Vince, Sharon Taylor, Alvin Shum, Anna Smith, Adam Scott and Javeria Hussain.
Liberal Democrats – Barbara Ann Gibson, Lucy Kathleen Nethsingha, Fionna Margaret Ruth Tod, Stephen John Robinson, Sandy Walkington, Marie Clare Goldman and Jules Ewart.
The Brexit Party – Richard James Tice, Michael Eric Heaver, June Alison Mummery, Paul Joseph Hearn, Priscilla Mary Huby, Sean Robert John Lever and Edmund John Fordham.
The Green Party of England and Wales – Catherine Rowett, Rupert Read, Martin Schmierer, Fiona Radic, Paul Jeater, Pallavi Devulapalli and Jeremy Caddick.
UK Independence Party (UKIP) – Stuart John Agnew, Paul Oakley, Elizabeth Eirwen Jones, William Ashpole, Alan Graves, John Richard Wallace and John Whitby.
Independent – Attila Csordas.


Author AnahitaPublished on April 29, 2010 1 Comment on What would you do?
Published on April 29, 2010 Categories Babies and Toddlers, Life, mommy moments1 Comment on What would you do?
Last Friday kids and I had fun spring-cleaning. As soon as dad came home I started emptying, cleaning and reorganizing kitchen cabinets one after the other. After I guess two of the cabinets, my son came and told me he wants to help. He started helping in emptying and wiping the cabinets. My daughter as well asked if she can also clean something, so I gave her a clean wet towel and told her to clean the cabinet doors.


ThisPix is a photography studio and a lab located in midtown Manhattan since 1986. Sunny and Jeff, owners have been working for 10 years serving as a lab locally. Now we are offering high quality lab work as well as professional photography services.Both Sunny and Jeff majored in photography in college and been working in the photography industry for the past 15 years. Both of their in depth experience in the field will provide the highest quality work in reasonable rates will be sure to satisfy our each clients.


text:
Kuznetsky Most - Moscow
In Moscow
Every large city in the world has at least one famous street, in which people would do business, shopping, exploring art and culture, and other sorts of things, and there are several prominent shopping centers as well. For example, Moscow, the capital of Russia, has the Arbat Street, near the historic center of the city, which many tourists have visited for shopping, fun, art, and culture during their tour to Russia. However, it's not the only shopping lane in Moscow. The Kuznetsky Most is another shopping lane in Moscow that has been one of the upper-class shopping lanes for more than three centuries. It's also one of the places that we at the Star Travel Group would suggest our travelers during their Moscow tour.
Although the origin of Kuznetsky Most dates back to the end of the 15th century during the Prince Ivan III of Russia reign, and later to the fire of 1737, it was in the middle of the 18th century when this street became one of the most prestigious streets of Moscow. It acquired its name from the Blacksmiths' Bridge on the Neglinka River. After the fire of 1737 in Moscow, the Kuznetsky Most rebuilt and turned to a place for upper-class buildings and stores. The Vorontsov family had bought and merged the vast territories on the north of the street, and the famous bridge was built on Neglinnaya by Dmitry Ukhtomsky. During that time, Kuznetsky Most housed many famous people, including one of the worst people of that time, Darya Saltykova, who was a woman of noble families, but also a serial killer who condemned to life in prison for her crimes.
Before the time that Napoleon invaded Russia, the Kuznetsky Most was full of French stores. When the French Grand Army approached Moscow, almost all the residents of Moscow, including the army, had abandoned the town. While the great fire of 1812 was burning the city, the French troops maintained their fellow countrymen stores from the fire, that's why the Kiznetsky Most remained almost untouched by the fire. After the Russian army successfully defeated and repulsed the Napoleon army, the Kuznetsky Most once again became the place for high-class stores, but this time, Italian, English, and other traders had joined the French traders. Still, most of the stores, including fashion shops, bookstores, and upper-class stores, had been managed by French traders.
Now during this time up to the October Revolution, there were many well-known buildings on this street, which some of them even turned out to be attractive places on tour to Russia. The Dzhamgarov Bank and the Juncker Bank Building turned the Kuznetsky Most into the financial center of Moscow. Though the family house of Count Dimitry Shcherbatov, Shcherbatov family house was one of the well-known places for the Muscovites during that time, the real famous, yet, not so remarkable building on this street was the No.9, Yar Restaurant. This restaurant that belonged to Frenchman Tranquille Yard was meeting place for various celebrities and famous people of Russia during that time, including Pushkin and Anton Delvig. However, today, the building houses Atlas, which is a map shop.
After the October Revolution, several things had changed in these streets. Several buildings, including a church on this street, demolished due to the anti-religious beliefs of the Bolsheviks. Many of the stores had turned to government offices. However, several new stores had opened up, including multiple book stores and publishing houses, in which two of them have survived today and become one of the top hunting places for international book enthusiasts in Moscow. If you had enough time during your Russia tour, you could visit these places when you visit Moscow.
The Kuznetsky Most has reacquired its status as one of the upper-class shopping lanes of the city from the 1980s. It also houses several cultural institutions, such as Kuznetsky Most Exhibition Hall, the Moscow Operetta Theater, and two state libraries. As you can see, there are lots of reasons for tourists to visit this street on their tour to Russia. The gallery of the Moscow House of Artists, the School of Fine Arts, and Moscow Operetta Theatre have the duty to represent the art and culture of Russia to its visitors as well as several other art galleries, gift shops, and exhibition centers. Several street artists have brought their talent and art to Kuznetsky Most visitors. Kuznetsky Most are also one of the historic streets of Moscow, in which tourists will visit houses of noble families, many architectural masterpieces, and historical monuments, such as Tretyakov Apartment House, which considers as one of the cultural heritage of Moscow in the Russia tour. Tourists will also be able to roam inside this street as couples since there are lots of cafés, restaurants, and romantic places that they can enjoy during their travel to Russia.
However, the most notable feature of this street is its stores, especially one of the brand-new international shopping centers in Moscow, The TsUM. TsUM is one of the most fashionable shopping centers in Moscow, in which visitors can shop for almost anything from clothes, jewelry, beauty, and cosmetic products, women's shoes, bags, and other accessories, men's accessories as well as clothes, watches, kids' clothing, decoration, souvenir, and many other things from top brands of the world. Although TsUM has been reopened in recent years, its history dates back to more than a century ago. It's also one of the cultural centers of Moscow with several exhibition halls and events that have been hosted there. You can enjoy a safe, fun, and assured shopping in this shopping centers. It's also one of the top shopping centers that we at the Star Travel Group would recommend our tourists during the tour to Russia.
If you would like to learn more about other shopping centers in Russia or learn more about top Russia attractive places, you can always check our weblog as well as speaking with our experts for more information. We also provide several other tips and pieces of advice about how to travel to Russia on our weblog, which will be useful for you, if it's the first time that you want to visit Russia.
Kuznetsky Most - Moscow ( 8 Images )
Kuznetsky Most Travel to Russia Russia Top Shopping Lanes Trip to Russia visit Moscow Travel to Moscow Trip to Moscow Visit Russia Moscow Tour Tour to Russia Russia Tour Tour to Moscow
Metro stations - Moscow
Sparrow Hills - Moscow
Novodevichy Cemetery - Moscow
Museum of Great Patriotic War - Moscow
Russian Folklore Dance - Moscow
Circus Nikulin - Moscow


I'm going to begin by telling you a little story which started back in '95. Back then, the most used method of transferring digital data was with floppy disks. Actually, being such a popular device, cheap and practical, the floppy disk drive, was virtually integrated on all computers.
Of course, they were not the only devices used. The bulky Zip and Jaz disks could also be found in the early IT market. The Zip disks had capacities from 100MB to 250MB or even 750MB and the Jaz disks with a much higher capacity, from 1GB to 2GB later on. The difference was that these disks were quite expensive, so end users, who didn't need large amounts of data transfer, unlike today, could not find a very good reason to purchase them. Time passed and the Zip and Jaz disks just faded out, making room for another device to emerge and write its own history.
In the late '90s, the CD Rom drive appeared on most all new computers and fast became the highest used writing/rewriting device, back in the year 2000. Even though, in the early stages, when they entered the market, they weren't on high demand, they became very fast, maybe, the most popular device. They were quite cheap and small for the amount of data they could store, holding very little storage space.
Starting with the year 2000, the need for high volume data transfer or data storage, exploded. Almost everyone had a computer due to the fact that the technology costs were lower than before and the high demand of internet usage. Digital cameras, camcorders, downloading music, and so on, made people want more and more digital data space, for recording, collecting or transferring data. The IT market and IT technology research went sky high. Not only end users, but also companies, transferred their information from paper to digital data, on computer systems, which saved them allot of time, resources and storage space.
But, a few problems appeared. Every computer has a lifespan, you know, becoming slow, crashing and eventually dying when you need them the most. Users and companies, in fear of losing data, started to realize the need of back-ups to avoid further problems. Aside from the already mentioned digital data storage and transfer needs, the desire to back-up data generated an even greater demand for high amount of digital data transfer and storage.
Even though virtually every computer was fitted to read and write CDs, the writable/rewritable DVD drives and disks flooded and almost replaced completely the CD market. It was not extravagance, it was necessity. Remember that a floppy disk could hold 1.44MB of data and now, a single digital picture can be more than that. And comparing a DVD, with a 4.7GB capacity, with a floppy disk is just hilarious. We would need 3,263 floppy disks to match the DVD storage volume, or 444 floppy disks to match the average 650MB storage volume of a CD. Just imagine. It's simply amazing.
But also in the mid-late '90s, a revolutionary and groundbreaking industry standard appeared. The 'Universal Serial Bus'. The USB was designed to standardize the connection of computer peripherals, like keyboards, pointing devices, digital cameras, printers, portable media players, disk drives or network adapters, to personal computers, to communicate and to supply electric power. The USB became popular knowledge, around the year 2000, when it actually replaced almost all computer peripherals. Now, more than ever, putting your computer together was no big deal. You just plugged in the USB cable into your main computer unit and your device and you were ready to go. No more specific printer port, keyboard port, mouse port, you could instantly access your photos on your digital cam or even charge devices, like the MP3 player or cell phones, just by connecting to them. Today you can find the USB ports, also, on TVs, DVD players, audio players and all sort of other devices. It's 'universal'.
Combining the need of portable high digital data volumes and the awesomeness of the USB connection, the USB Flash Drive emerged. Also known as memory stick, thumb drive or jump drive, the USB Flash Drive is a small device, about the size of a lighter, capable of storing impressive high amount of data, now, up to 256GB. When they appeared in the market, they weren't cheap, on the contrary. But the USB Flash Drives being so convenient, robust, easy to carry, very diverse in volume sizes, able to read and write at high speeds and not needed a specific port or drive to use them, became greatly demanded. Don't try this at home, but in my own experience, an USB Flash Drive can even endure water and still function after it's well dried. Also some USB Flash Drives manufacturers claim that it can be used over a million times, but I haven't tried this yet.
At some point the 2GB USB Flash Drive, was very popular, but as they became less costly and their data volume sizes increase, the flash drives are starting to become not only a replacement of other digital data storing devices, but also a great promotional gift in the market. Produced in different shapes, color and sizes, at little cost, the USB Flash Drives can be branded with different company logos and information and uploaded with promotional materials. So no more paper based promotional materials, the digital revolution continues. These gifts are very well received since most users can reuse the promotional materials, the USB Flash Drive and, in the process, expose the company logo at every use.
I could go on writing about the USB Flash Drive and it's history, but everything has an end, just like the floppy disk. The thing left to do is asking ourselves what new use we can find for the USB Flash Drive and what will be the next step in our digital revolution.


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The Common Issue 16 Press Release
THE COMMON #16 FEATURES PORTFOLIO OF PUERTO RICAN WRITERS
The Fall Issue Recognizes the Vibrancy and Resilience of Puerto Rican Writers and Artists in the Aftermath of Hurricane María
Amherst, Mass.—October 15, 2018
September 2018 marked one year after Hurricane María devastated Puerto Rico, striking an island already in the thick of political and economic instability and causing an estimated 4,645 deaths. In the storm's aftermath, many wondered: "What is the role of art in times of tragedy? What should writers and artists do with their talents?" THE COMMON's Issue 16 features a special portfolio of Puerto Rican writers and artists that recognizes the vibrancy of literary and visual arts both on the island and in the diaspora.
Issue 16's portfolio De Puerto Rico: Un año después de la tormenta / From Puerto Rico: One year after the storm celebrates the resilience and talents of Puerto Rican writers working in a variety of genres. In March 2018, Editor-in-Chief Jennifer Acker spent a week in San Juan interviewing and collaborating with writers, artists, and performers. "Hurricane Maria was not merely a setback or temporary disaster," she writes in an essay published in LitHub in September. "The threat was existential. Would the island ever recover enough to support full lives and future generations?" These finely curated pieces explore this and many other questions related to the storm and its aftermath.
Issue 16 Contributor María Luisa Arroyo Cruzado
In "4,645+," María Luisa Arroyo Cruzado asks, "What are the Puerto Rican Spanish words for aftermath? / Disaster capitalism? Intentional erasure of a modern colony?" In "Native Shore," poet Mara Pastor drives home the unwelcome post-Maria reality: "They were counting on the debt, / but not on heavy metals in the water, / cadmium in the ash they breathe. / Nothing prepared for the poverty of the house, / for a piece of the pool collapsing…"
Mara Pastor's poems appear in both Spanish and English, celebrating the beauty of her verse in two languages. In addition to these poems, two essays appear bilingually, and the issue features a number of works translated into English for the first time.
While the portfolio explores the harsh details of post-hurricane life in Puerto Rico, it also showcases the strength and beauty of the island. In renowned artist Adál's photo series Los ahogados / Puerto Ricans Underwater, a woman submerged in a bathtub holds a smiling baby above the water. In another photograph, from his series Los dormidos / The Sleepers, a couple sleeps curled around a can of gasoline, the woman's head on a pillow of ice. "Santurce, Un Libro Mural / Santurce: A Mural Book" brings to the page a collaboration by writer Francisco Font-Acevedo and artist Rafael Trelles currently installed on the streets of Santurce, the most populous and artsiest barrio of San Juan. Sergio Gutiérrez Negrón tells the story of Bimbo, a shy man who learns to love himself and the sea in "People Who Go to the Beach Alone." National Book Critics Circle Award Finalist Willie Perdomo's "We Used to Call It Puerto Rican Rain" is an ode to the island's tropical weather and to its inhabitants.
Poet Willie Perdomo, Issue 16 Contributor
"I believe the creative process of this issue of The Common is in itself a reflection of the kind of conversations we should be having between the people of the United States and the people of Puerto Rico," reflects Issue 16 contributor Ana Teresa Toro, whose essay "To Abandon Paradise" opens the portfolio. "We share the same passport but have very different experiences. To be part of this portfolio represents to me the chance not only to show our view of the world, and to tell our stories, but also to connect with readers who will expand our perspective with their own experiences."
Issue 16 Contributor Ana Teresa Toro
Also included in Issue 16 are THE COMMON's characteristically diverse, place-centric short stories, essays, and poems, including work by: David Lehman, series editor for The Best American Poetry and Rhode Island Poet Laureate Tina Cane; as well as up-and-coming poets like Kristina Faust, winner of the 2018 DISQUIET Literary Prize for poetry. Mindy Misener's debut story "Baby Was Not Fine" recounts a summer job, an act of violence, and the haunting actions we can't take back. PEN/Robert J. Dau Debut Short Story Prize-winner Ben Shattuck's story "The History of Sound" ruminates on the connections that grow from a shared love of music. In "Land Not Theirs," Madison Davis reflects on her experiences growing up in, and growing out of, Black churches. Lisa Chen, winner of a 2018 Rona Jaffe Foundation Writer's Award, explores Susan Sontag's "Project for a Trip to China" and ruminates on the death of Chen's estranged father.
Issue 16 Launch Events
Community Reception
Wisteriahurst Museum, Holyoke, MA
Reception 5:30 pm, Reading and Conversation 7 pm
Featuring Puerto Rican writers and translators Ana Teresa Toro, Sergio Gutiérrez Negrón, María José Giménez, and María Luisa Arroyo Cruzado. Filmmaker Michelle Falcón will screen her documentary film PROMESA, which tells the stories of people affected by Puerto Rico's economic crisis.
Free and open to the public. Dinner provided.
238 Cabot Street, Holyoke MA
Issue 16 Launch
Powerhouse, Amherst College
Reading and Conversation 7 pm, Reception 8:30 pm
Brief readings by and conversation with Puerto Rican writers and translators Ana Teresa Toro, Sergio Gutiérrez Negrón, María José Giménez, Willie Perdomo, and María Luisa Arroyo Cruzado, moderated by The Common Editor in Chief Jennifer Acker. Followed by a wine reception at 8:30.
The Common is co-sponsoring the events below with the Hampshire College Art Gallery:
AgitArte y el Teatro de Papel Machete: Decolonizing Cultural Production and Building Radical Solidarity
AgitArte is an organization of working class artists and cultural organizers that creates projects and practices of cultural solidarity with grassroots struggles against oppression, and proposes alternatives for transforming our world.
Four members of AgitArte—Jorge Díaz Ortiz, Dey Hernández, Sugeily Rodríguez Lebrón, and Agustín Muñoz Ríos—will give a series of campus and community presentations, including Solidaridad y sobrevivencia para nuestra liberación / Solidarity and Survival for Our Liberation, a recent cantastoria created in the aftermath of Hurricane María, and End the Debt! Decolonize! Liberate! Scroll Project, a collaboratively produced, collectively experienced art object that visually unfurls a history of colonialism and resistance in Puerto Rico.
AgitArte's residency takes place in conjunction with the installation The Museum of the Old Colony by artist Pablo Delano, on view in the Hampshire College Art Gallery until November 11.
Presentation (5-7 pm) followed by a community celebration
Wisteriahurst Museum, 238 Cabot Street, Holyoke, MA
Presentation (6-7.30 pm) and reception
Hampshire College Art Gallery
An award-winning print and digital literary journal published biannually, The Common includes short stories, essays, poems, and images that embody a strong sense of place. The Common Online publishes original content weekly, including book reviews, interviews, personal essays, short dispatches, poetry, contributor recordings, and multimedia features. Based at Amherst College, the magazine is a joint venture between the College and The Common Foundation, a 501(c)(3) nonprofit. The Common also runs the Literary Publishing Internship at Amherst College, mentoring students in all aspects of literary publishing, and regularly hosts public programming.
The Common Issue 16 Press Release 10.19.2018


Enjoyed by members and visitors alike, Joe Morgan-Payler's visit was a great success with an excellent demonstration and a full day and evening of workshops. For a change, members were invited to bring trees they would like Joe to work on and he would decide which tree he would develop. There was plenty to choose from and all of it 'great material'.
In the end, Joe chose a large Japanese black pine (on turntable) in the early stages of development for its impressive base, great trunk and early branch structure with a view to 'set things on the right track for the future'.
Before starting to work on a tree, Joe assesses the tree's health. In this case, the pine had very healthy green needles (no grey needles indicating disease), plenty of new buds and gave every indication of being a vigorous tree. However, as it was March and the tree active, no heavy bending would be undertaken as the risk of ringbarking would be too great due to the pillar of sap between the bark and hardwood.
Next, Joe looks at the movement and direction of a tree and is very aware of creating a dominant flow to the tree, commenting that 'if something is not quite right, then the tree is probably too symmetrical or the flow is wrong'. Usually this can be remedied by shortening the branches on one side and leaving the other longer.
The first branch sets the plan for the rest of the tree. With that in mind, Joe then removes unnecessary branches but always considers what will fill the spaces created by this, for example, is there a branch further back that will do the job? Joe likes consistency in the angle of the branches on each side of the tree- they do not need the same angle as each other but must look like the 'forces' have acted consistently on that particular side. Joe usually uses 'muscle memory' when pruning but will sometimes have to judge strength and balance to make a decision.
Joe looks at wiring as 'a bit of a puzzle' that needs working out. It is very challenging to get it perfect but it is worth the effort because with wiring 'neatness is directly linked to effectiveness'. If a wire is too loose, it is easier to break a branch and if wires cross, the pressure at that point is increased and so more likely to cut in. For evergreens, like pines, He uses copper wire because it stays where it is put and aims to set branches in a smooth line that flows like a highway off-ramp. Joe wires from the trunk out but sets branches from the tip inwards as it is easier to set pads as you go in. By placing branches correctly, giving everything its own space, a full-looking branch is created.
After setting the sub-branches (secondary and tertiary) there are always some branches that aren't upright- correcting these is a fast way to turning an OK wiring job into an excellent one! Wiring does damage just by its nature and in effect why the branches change position and so it is sensible to leave wire on as long as possible, ideally a season. Should wire bite before this, just remove the offending bits and rewire there.
For this pine, the most notable feature is the girth of its trunk. There are not many pines around this thick and so it should be a major feature of the tree. To accentuate this, Joe's plan is to make the tree as compact as possible.
The first branch had already had a guy wire (or twitch as Joe calls them) attached and so would bend further. A new guy wire was attached using the branch's wiring and pot as an anchors and the branch further lowered. This area was changed from a junction of four to three, the stump removed and the remaining two back branches wired. Again a guy wire was used to bring the back branch down and into harmony with the first branch. Smaller branches were then set- bringing some down or over to the opposite side to fill empty spaces. The second branch had a long section without needles, so it was reduced to improve balance. The bender was left in place and pruned around.
While the canopy was fairly straight forward- the crown had to be compact, long on one side and short on the other. Pruning was only started after looking carefully and manipulating the branches to see what would work to accomplish this.
Finished tree- bones in place with needle plucking and candle pruning the way forward from here.
This tree is now moving towards refinement and might be show ready in five years, however, a more realistic time frame is probably 8-10 years. Needle plucking and candle pruning are its future program.


Next Start Date is March 15, 2019!
Our open houses provide an opportunity for our students, faculty, and guests to interact with each other in a casual setting at our recording studio. We regularly invite a music industry professional to come and tell their story . This gives the students and guests real world insight from someone who is truly successful in the industry. Don't miss out! Come hang, meet the students and staff, and ask some questions. Please fill out the info form to attend.
Our Recording Arts Program lasts 14-18 months.
The Recording Conservatory is the premier Audio Engineering, Music Production, and Recording School. Because of our one-on-one mentor-ship approach, The Recording Conservatory is where truly passionate students are coming to jump start a vibrant career in the music industry. Our proven curriculum is taught exclusively by real working industry professionals in real working studios. TRCoA is, in the truest sense of the phrase, a trade school.
Our main goal is to hand craft you into a working audio engineer, music producer, studio owner, record label, or music business entrepreneur.
At TRCoA, not only will you learn to create professional music productions, but we'll set you on a career path to creating your own business. Not only will you learn to be an Avid, Pro Tools and Premiere Pro recording, editing, mixing, and mastering expert, but you will learn how to initiate and maintain the business relationships necessary to be successful. We take special care to create close relationships with each student. We listen to your goals and strive to help you reach them.
The flexibility and personalization that is possible with one-on-one classes makes each students experience their own. You will feel like you are in a school specifically designed for your needs.
You will be learning from true industry professionals. They will likely be working with a client right before your lesson and will bring their real personal experiences into your one-on-one class time.
Projects are the core of our programs. Day one you can book studio time in our industry standard studios and by week four you will start your first of many many projects. Projects make-up at least 75% of your hours.


The living room with off-center fireplace.
An off-center fireplace with marble surround and shiplap trim gives the living room an 18th century ambience that welcomes both intimate and larger gatherings. Across the hall, through a set of pocket doors, is the dining room that leads to a butler's pantry, an elegant power room and the kitchen.
The spacious kitchen and butler's pantry are fitted with extensive shaker-style white cabinetry, honed and sealed Carrera marble counters and a large subway tile backsplash. An island provides additional space for food prep or casual dining. Glass-fronted display cabinets with walnut trim – one of which can be viewed from front hall – lend a touch of warmth and old-fashioned elegance to this very inviting space. Stainless appliances include a KitchenAid French-door refrigerator/freezer and dishwasher and a Kenmore five-burner gas range and double oven.
Off the kitchen and living room via sliding glass doors is a screened-in porch overlooking the back garden. It features a massive beam of reclaimed wood from an old Baltimore garage plus clever hacks like screen flaps above the slate floor to facilitate sweeping or plexiglass ceiling panels to bring in more light and extend the space.
A Craftsman-style box staircase, whose newel post was inspired by the stables at Monticello, takes you up to the second level where there are four bedrooms (one of which can be configured as a dressing room, office or nursery) and three baths (hall, jack-and-jill and the master). All pick up the same cabinetry and colorway of the kitchen and are accessorized with marble floors designed to capture the light with alternating shapes of wide and narrow, honed and polished tile.
The master bedroom has a room-sized walk-in closet with white oak built-ins and the bright bathroom includes a double vanity with a marble counter, a glass shower with bench, and a large soaking tub with sleek Kohler fixtures.
A ladder-like stairway rises to a third level playroom or studio with a full bath. Two walls of ceiling-to-floor sliding doors open onto a wrap-around deck with cedar brise-soleil and a panoramic view of Virginia and the surrounding countryside.
The home also includes a multi-zone, high-efficiency HVAC; radiant heated floors; a built-in conduit for future installation of solar panels; and storm water management systems.
Located in Kent off Arizona Avenue, the home is an easy walk to the scenic Palisades, Battery Kemble Park, the Capitol Crescent Trail and the MacArthur Boulevard corridor. Bethesda, Chain Bridge and Northern Virginia are within a short and convenient drive.
The five bedrooms and five-and-a- half bath home at 5163 Fulton St. NW is listed for $1.595 million with TTR / Sotheby's International Realty, For details, contact Katherine Kranenburg at 703-307-1024, kkranenburg@ttrsir.com or Michael Kay, The Fleisher Group, at 301-728-8858, michael@thefleishergroup.com. For a visual tour, please visit bit.ly/2ENcaop.


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Each week I will post my current syndicated newspaper column that focuses upon social issues, the media, pop culture and whatever might be interesting that week. During the week, I'll also post comments (a few words to a few paragraphs) about issues in the news. These are informal postings. Check out http://www.facebook.com/walterbrasch And, please go to http://www.greeleyandstone.com/ to learn about my latest book.
Pennsylvania, which had been a no-contest state in presidential primaries because of its late balloting, is a now a swing state with less than a week until the election. Just about every voter by now has received dozens of robocalls, e-mails, letters, postcards, and exposure to almost-uncountable TV, digital, satellite, and social media ads. Most are attack ads, with similar messages.
The ads focus upon homeland security, taxes, immigration, pro-life/pro-choice, and bringing jobs back to America. The conservatives have thrown in the phrase "liberal extremists" in many of their ads in an effort to shock all America to believe that liberals are somehow tied to Muslim extremists. The liberals are pushing an agenda that defines the conservatives as greedy plutocrats who have little thought for the middle class. This election, from local offices to the presidency may be the dirtiest since 1800 when Thomas Jefferson challenged John Adams.
Donald Trump, who has outsourced much of his clothing line and construction materials, now says if president he will bring jobs back to America, stop illegal immigration, defeat Isis, repeal Obamacare, lower taxes for families while miraculously raising the budget for defense, and perform myriad miracle acts that are not part of a president's constitutional responsibility.
On his march to the presidency, Trump has focused upon Hillary Clinton's e-mails, a scandal that isn't one. Congressional hearings and the FBI have cleared her; innumerable times, Trump has continued to attack her. Clinton has already apologized for using a personal e-mail server during her four years as secretary of state. What turned up among more than 30,000 e-mails is about 55 e-mails that received a "confidential" tag, the lowest of three classifications, with another 55 receiving "secret" or "top secret" classification. As a cabinet officer, and fourth in line of succession, she had the right to classify any message. A few of the messages came from other agencies. About 2,100 messages were classified retroactively.
almost every TV show, is a fast-paced collage of his many comments; among them, Trump mocks a disabled reporter, uses obscene language, and treats women as chattel.
Both candidates call each other unfit to be president, with Clinton asking voters if they really want Trump to be the person in charge of unleashing the nuclear arsenal, and Trump asking voters if they want a corrupt liar in the White House. Trump has also played upon Clinton's 30 years of public service, linking her as an insider and him as an outsider to Washington, D.C. politics. The "outsider" label has been resonating with voters at all levels of the election campaigns as voters believe they are outsiders, alienated to government, and are willing to be led by insiders who claim to be outsiders.
The cost of airing ads by both candidates for the presidency and members of Congress is more than $4 billion, and that doesn't include the cost of producing them. More than $600 million, spread among all major Democratic and Republican candidates for the presidency, has been spent on broadcast TV ads, according to Borrell Associates. During the past 21 weeks, Clinton has spent about $211 million on broadcast TV ads; Trump has spent about $74 million, according to data compiled by BloombergPolitics. However, Trump has used both Twitter and free TV time, due to outrageous statements, to equal Clinton's campaign. During the final week prior to the election, Trump will spend $25 million in broadcast TV ads. Clinton and Trump have each secured $5 million in ad time for Pennsylvania TV stations during the final week. The Trump totals don't include a $3 million TV ad buy from the NRA, which stokes the fire of fear that Clinton, if elected president, will violate the Second Amendment and take guns away from civilians.
By Tuesday's election, it will be doubtful that either Clinton or Trump will know how many ads were placed by their campaigns or by SuperPACs on their behalf that aired on broadcast television.
In the race for senate from Pennsylvania, Sen. Pat Toomey and Katie McGinty have each attacked the other for being millionaires.
With McGinty it's a case of benefitting from going from business to government, where she was the Department of Environment Protection administrator, back to the energy business, back to government where she was Gov. Tom Wolf's chief of staff, and then to membership on the boards of energy firms she had previously regulated. Toomey also attacked her for tossing about $2.8 million of state funds to two non-profit organizations that her husband is an advisor.
With Toomey, the attacks are because he was a stock broker who went into politics, favors Wall Street, and owned a bank that foreclosed on numerous customers. McGinty's ads stress her blue-collar family of 12, emphasizing that her mother was a restaurant hostess and her father was a police officer.
The two candidates' campaign committees and their SuperPACs have spent more than $55 million to be elected to the Senate, according to the Center for Responsive Politics; it's a job that pays $174,000 a year.
There is one reality in all the advertising— negative ads generally don't work, and exist only to reinforce a candidate's base of support.
My latest Book. Available in Print. Updated ebook coming soon!
"Fracking America is a fact-based overview of the issues surrounding the natural gas industry and fracking. Although it focuses upon the Marcellus Shale, it looks at cases and issues in other parts of the country. The book is not meant to be a comprehensive analysis of the science and engineering of the process to extract natural gas nor an extensive discussion of the economic, health, environmental, and political issues. It is meant as a basic reference to acquaint people with the issues, with the hope they will dig deeper into areas that directly concern them and rally their friends and neighbors to help protect the health and environment of the people, wildlife, and natural vegetation."