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What's New with Selma Cafe
By Erin Holden 09 Apr 2020
Christmas Tree Drop-Off Available Until January 18
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The 39th Ann Arbor Folk Festival Celebrates 50 Folkin' Years
By Nan Bauer. January 2, 2016.
by Nan Bauer January 2, 2016 Leave a comment
His website defines Ben Folds as "genre-defying." He's most often referred to as a singer/songwriter/producer, his music described most often as rock, sometimes pop, almost always with the word "alternative" tacked on.
"When Ben Folds played the Ann Arbor Folk Festival in 2008, I had seen him perform once before, but was unfamiliar with his catalog," says Jeff Reece, who since 2006 has served on the board of The Ark, the music club behind the Folk Festival. "To the shock of many in the audience—many who were probably less familiar with him than I was —he concluded his performance with a Dr. Dre cover, 'Bitches Ain't Shit.' It starts with a beautiful piano solo and then morphs into something totally unexpected. I'll never forget it."
Anya Siglin remembers the moment well. Siglin serves as the Ark's program director and in the same role for the Festival, the club's biggest annual fundraiser. "I had no idea that was coming, and kind of held my breath. But people loved it."
Another favorite moment? Pete Seeger, "pretty much the guy you think of when you think 'folk,' he always wanted a singalong," recalls David Rossiter, a member of local roots band Hoodang and former Ark board member. "Woody Guthrie's granddaughter was in the audience, and she came up and sang with him, and all the musicians joined him. It was so moving."
Folk is for the people
How can one festival encompass such a diverse range of artists and musical experiences? "Everyone has their own notion of 'folk'—what it is, what it's not, who plays it, what it sounds like. Kumbaya, anyone?" wrote Anya Siglin and Marianne James, the Ark's executive director, in the Festival's welcome letter which continued, "For The Ark, 'folk' extends beyond a specific sound or genre; it's a wide spectrum of music" encompassing "traditional, contemporary; amplified, acoustic; vintage, emerging; familiar, edgy."
So while Festival organizers are justly proud of the folk legends who draw crowds to Hill Auditorium in the dead of winter—and who play its Main Street venue throughout the year—the club's leadership is equally dedicated to continually "blow[ing] the lid off people's little boxes of folk" and mixing it up with new and surprising artists. "We've battled people's perceptions of folk because the word is so rich in our world," said James. The tagline for the 38th festival, "50 folkin' years," is a shout out to the Ark's five decades and its continued dedication to expanding musical horizons.
"All music is folk music," said Joshua Davis, one of this year's featured artists. "Folk songs are love songs, historical songs, or personal songs telling a story."
"Folk means 'of the people'," said Alan Doyle, who, with his band The Beautiful Gypsies, will precede Davis in the Festival's Saturday night line-up. In an accent lilting from his Irish roots, the Newfoundland native explained "Trying to define folk is foolish, but we'll proceed anyway. It's music that people would sing and play and know when they don't do music for a living. It's the song that Johnny sings, and doesn't know how he knows it. It's the song you never sat down to learn."
Despite similar philosophy about what folk means, Davis and Doyle play and sing very different music. Michigan native Davis, who did a stint on the TV competition, "The Voice," is an American roots music historian with a musical heritage of blues, ragtime, and world music. Doyle, who's previously appeared in Ann Arbor with his band Great Big Sea, will be accompanied by his new group on a rocking set spiked with healthy infusions of Celtic soul.
They're preceding Ry Cooder, in a rare appearance playing with husband/wife bluegrass legends Ricky Skaggs and Sharon White. "I worship Ry Cooder," said Davis, "I may not be able to speak when I meet him." The final artist of the night, Joan Baez, will grace the Folk Festival stage for the first time. "She was scheduled to come a few years ago, and had to cancel," said program director Siglin. "So we are thrilled to have her here at last." Alan Doyle said he, "can't wait to tell my parents I'm on a bill with Joan Baez. This will legit me for life."
That's just the lineup for Saturday, and only four of the seven acts. Executive director James emphasized that the festival is carefully curated. "It's a full music experience over the two nights," said James. "We work hard to make it a cohesive experience, and to offer people variety and really provide the full spectrum." Planning the line-up begins almost as soon as the previous year's festival ends, which Rossiter sees as a unique advantage. "Because you have to plan so far in advance, a lot of times you get artists who aren't on tour, so you see them in a really different context. One time, Jeff Tweedy came without his band Wilco. It was him alone on stage with a bunch of guitars, not something you ever get to see."
Each night begins with local talent; this year, the Ben Daniels Band will represent, helping to kick things off on Friday night. "This is a huge deal," says Daniels. "We've played the Ark several times, and to have that short 20-minute set at the beginning of the festival is amazing." He's stoked to see City and Colour, the Canadian act led by Dallas Green that headlines on Friday following musical legend Richard Thompson and indie rockers Yo La Tengo.
Don't skip the start
Those tempted to skip the early acts and show up only for the big names are making a big mistake, according to festival-goer Richard van House, who encourages attendees to get the most from their tickets and show up before 6:30, the official start time. "It's very long—four and a half hours each night—but some of the surprising 'new' entertainers play in the early sets so you don't want to miss them." Another fan, Binger S. Winchell, agreed. "It's a real treat for me to learn about a new performer and the great news is that many of the acts will be booked to perform at The Ark later in the year."
"There's a secret ingredient in this region," said Marianne James. "People really understand this music and love it and get it. Without that audience that loves and responds and supports the music, it can't happen. The Ark is bigger than anybody who's been involved with it. It's a place people love, both the artists and the audiences."
As the Ark's biggest party of the year, the Ann Arbor Folk Festival is the perfect way to craft your own definition of this incredibly diverse genre.
"You're in a warm place with perfect acoustics, and even though there are more than 3,000 people there, Hill Auditorium has this amazing feeling of intimacy, like you're in someone's living room," said Rossiter. "In the deep dark winter, this blizzard of music is gonna lift your soul."
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By Nicole HoltzmanJanuary 14, 2021
Ann Arbor musician Antwaun Stanley has partnered with Ben Silverstein in their newest single, 'Special'. Check out this awesome song and their upcoming EP!
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Writer's Pick 2020: Best Local Songs
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Bangladesh factory collapse: A harrowing survivor's story
By Arun Devnath and Mehul SrivastavaWashington Post
Fri., April 26, 2013timer8 min. read
DHAKA, BANGLADESH—Deep into the night, Enam Medical College and Hospital is layered with grief.
Near the entrance, where families rush each approaching ambulance in a frantic, wailing search for a loved one, lies Momena Begum, 28, pregnant and injured. Her mother died in the rubble of Rana Plaza, the eight-story building in suburban Dhaka that claimed at least 250 lives when it collapsed April 24. Her brother died, too.
Two levels above, 19-year-old Zahanara Khatum, her leg injured and a saline drip in her arm, still can't comprehend how she ended up in the hospital.
"Suddenly, the floor I was working on wasn't there," she said. "I don't know how I got here."
The second major accident to scar Bangladesh's $18 billion garment industry in five months comes after Western companies have pledged repeatedly to improve the safety of about 2.4 million workers — the vast majority of them women. In November, 112 people died in a blaze barely 10 kilometres east at a factory where employees stitched clothes for Wal-Mart Stores, Sears and C&A.
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Anger grows as dozens rescued after two days trapped in the rubble
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The toll was still mounting Thursday night as rescuers pulled bodies from the rubble in Savar, where workers made clothes for Loblaw Co.'s Joe Fresh label and Associated British Food Plc.'s Primark chain.
"When people lose loved ones in an accident like this, their pain is so deep, it seems it's beyond our capacity to cope," said Muhammad Amirul Islam, a doctor at the hospital, where medical students were enlisted to work through the night. The road outside was lined with people, the air full of cries and ambulance sirens.
Abdul Gani, an orthopedic surgeon, was one of more than 100 doctors working in triage units at the site, giving first aid or carrying out emergency amputations before survivors are sent to hospital.
"The number of dead will keep rising because they still have to do a lot of excavation," Gani said by phone. "Most of the victims are women in their teens and twenties. It is really very, very sad to see."
Rahima Begum, 30, knew something was wrong long before the building fell apart around her. A day earlier, she walked up the five floors to Ether Textile and started her shift operating a sewing machine. For $56 a month, she worked eight hours a day. Overtime brought in $40 more.
Primark said a supplier located in Rana Plaza made garments for Primark. When the London-based chain checks suppliers, it doesn't look at the structure of their buildings, focusing instead on working conditions such as overtime, safety, labelling of chemicals and fire risks. It recently made its own audit of the factory, which passed, Chris Barrie, an Associated British Foods spokesman, said by phone.
For Begum, April 23 was filled with warnings. At 10 a.m., workers at other factories and offices emptied out of the building. Half an hour later, a manager, who she didn't name, told her floor to clear out too.
"The manager said there was a boiler blast on the third floor," Begum said Thursday in an interview at the one-room hut she shares with her husband and their 7-year-old daughter. "That was a lie."
She filed out with the rest of the fifth floor. She waited. She ate lunch. When Begum returned, the factory was abuzz — cracks were clearly visible in the walls.
She said the manager told them the walls would be fixed and the building would be "perfect" the next day.
It wasn't. The fissures were still there and hundreds of workers refused to go inside, she said. In the same building, officials at Brac Bank had their employees vacate the premises the night before, said spokesman Zeeshan Kingshuk Huq.
At Ether Textiles, managers took the opposite decision. They threatened to withhold a month's pay if workers didn't start immediately, Begum said. Ether Textiles officials couldn't be reached for comment.
"I was helpless," she said. "I can't think of a day without work." Assured by the managers that the building was safe, she started work.
An hour later — darkness. The power failed.
"My heart sank," she said.
Then the pillars started crashing.
Before the collapse, at least 700 people had been killed since 2005 in Bangladesh's garment industry, according to the International Labor Rights Forum, a Washington-based advocacy group. Every accident has brought promises from Western companies of improved supervision of local suppliers. Behind the scenes, though, different decisions are made.
In April 2011, Wal-Mart officials decided at a meeting of retailers that the world's biggest company by sales wouldn't join an industry agreement to pay Bangladeshi factories a higher price so they could afford safety upgrades, Bloomberg reported in December. Neither did Gap Inc.
"We are talking about 4,500 factories, and in most cases very extensive and costly modifications would need to be undertaken," Wal-Mart said, according to minutes of the meeting. "It is not financially feasible for the brands to make such investments." Net income at the Bentonville, Ark.-based company was $17 billion last year.
In November, clothing bound for Wal-Mart and Sears was discovered in the ruins of a factory that caught fire, killing 112 people. Both companies have said suppliers used the factory without their permission and were fired.
Wal-Mart is investigating its supply chain to see if a factory in Rana Plaza was producing for the company, Kevin Gardner, a spokesman, said Thursday in an emailed statement.
"We are sorry to learn of this tragic event," Gardner said. "We remain committed and are actively engaged in promoting stronger safety measures, and that work continues."
Nothing has changed since the fire, said Stefan Strandlund, an independent sourcing consultant whose clients include British retailers. He's lived in Bangladesh for a year, moving there after more than a dozen trips where he found suppliers and factories for Western companies. He blames corruption for allowing greedy suppliers to evade standards, putting safety at risk.
"Often politicians or ex-Army, who've come into a lot of money, they buy some land, build a building to make more money," he said in a phone interview from Bangladesh. "They don't really follow any standards when they build the building, and they cut corners to make more money."
He also blames companies looking only for the cheapest supplier. Factories with poor controls on safety or child labour are easy to spot, if retailers decide to look, he said. Tell-tale signs include loose wiring and fire exits that are either half-built or blocked.
"These factories thrive because they offer a cheap, cheap price," Strandlund said. "If you're only looking for price, yes, you will let these things go on."
Textiles contribute more than 10 per cent of Bangladesh's gross domestic product and about 80 per cent of exports in the nation that's about the size of Montana and where one in three of its 163 million people are under 15 years old.
The Bangladeshi government has neither the resources nor the willpower to enforce regulations, said Richard Pearshouse, a Geneva-based senior researcher for Human Rights Watch. In the Dhaka area, 18 inspectors and sub-inspectors oversee an estimated 100,000 factories, according to an October report by the non-profit watchdog. "The number of inspectors is woefully inadequate," Pearshouse said via telephone. "There is a tendency to prioritize good relations with the owners, so there are very few unannounced inspections."
Penalties for offences are often "very light fines," said Pearshouse, who recently studied conditions at leather tanneries in Dhaka.
The company that owns Rana Plaza didn't get permission from the Rajdhani Unnayan Kartripakkha, Dhaka's development authority, to erect the building, said Sheikh Abdul Mannan, a planning member of the authority. It instead got permission from the Savar Municipal Corporation, which has different building standards, he said.
Rana Plaza was designed as a six-story building and the owners subsequently added two more floors, Mohammad Atiqul Islam, president of the Bangladesh Garment Manufacturers and Export Association, said in a phone interview from Dhaka.
There were 3,122 people employed at the factories in total, but it was unclear how many were in the building at the time of the collapse, he said.
"It is clear from visiting the site that they had violated several construction codes, especially the design code," Sheikh Abdul Mannan, a member of the city development authority, said in a phone interview from Dhaka. "I saw the materials used in the columns and the material used for the rest of the building and it was completely substandard."
Begum was trapped. The pillars around her had collapsed. The building itself had collapsed. She was caged in by mangled rods, concrete.
Four more workers were caught alongside her. An hour went by, and nobody came to help.
"I didn't know what to do," Begum said. She wept.
From desperation came bravery. Less than half a kilometre away, her family waited in the tin-roofed hut down an alley. Her husband, her daughter, a single bed, a small television, clothes hanging along a line. Home.
"My life cannot end like this," she remembers thinking. "I have to get out of here."
All around her was debris. She dug and then, suddenly, sunlight. One by one, the five survivors climbed through the hole. Bruised, her hands and leg covered with cuts, her back and chest hurting, Begum climbed out of the wreckage. By then, hundreds had died, and many more were still buried.
"I'm one of the lucky ones," she said.
She is. At 2:30 a.m., 46 bodies, their faces, legs and hands covered with bruises and cuts lay in the hallways of a school five minutes from the hospital. Frantic relatives roam the hallways, looking at one dead person, then the next, searching for a familiar face. So far, 92 dead had been claimed by their families.
Nearby, in Dhaka, several thousand protesters demanded the arrests of the owners of the building, identified by the Bangladesh High Court as Sohel Rana in a summons for negligence.
At the school, though, more bodies keep arriving.
"I am not sure when the corpses will stop coming," said Aminur Rahman, a police officer from the Savar Model Police Station. "Nobody knows."

redpajama_set_name: RedPajamaCommonCrawl


Statistics have shown that their are approximately 192 marijuana users, 84 people abusing prescription drugs, 31 cocaine addicts, 14 people using hallucinogens, and 8 people that use inhalants who live in Oak Ridge, North Carolina.
It is estimated that tobacco will take the lives of 5 people this year alone in Oak Ridge.
There will also be close to 24 people arrested for drug charges and around 18 DUIs in Oak Ridge this year.
If you have decided that you require assistance with a drug addiction you have made the first and hardest step on your path to sobriety, however the next step of finding that help will be a difficult task if you do not know where to look. This page provides a list of private, public, non-profit, gay, and Christian drug rehab centers and intervention specialists near Oak Ridge, North Carolina.
Oak Ridge is located in Guilford County and contains the following zip codes: 27310.


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Introduction to TruSight® Tumor 170, a new enrichment-based cancer research assay that interrogates both DNA and RNA, detecting small variants, gene amplifications, gene fusions, and splice variants. With minimal nucleic acid input requirements, the panel will allow researchers to evaluate formalin-fixed, paraffin embedded (FFPE) samples that were previously difficult to analyze. Hear from experts about the value this assay can bring to the research community. For Research Use Only. Not for use in diagnostic procedures.


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Posted inArt Interviews
Sexism and the Canon: Three Female Artists Reflect on 'Women of Abstract Expressionism'
by Kealey Boyd September 14, 2016 September 16, 2016
Works by Joan Mitchell (left) and Lee Krasner (right) in 'Women of Abstract Expressionism' at the Denver Art Museum (all photos by Hrag Vartanian for Hyperallergic)
DENVER — The paintings in Women of Abstract Expressionism at the Denver Art Museum are rich with emotion, monumental in scale, and totally original. The exhibition presents more than 50 paintings by 12 artists, some of whom are rarely discussed as contributors to the Abstract Expressionist movement. Like any 'first,' the first comprehensive show on these women artists raises as many questions as it answers. Most important of these is the question of whether a reengagement with these artists changes the reading of the movement. With fresh eyes on major works, how will contemporary artists react? Hyperallergic sat down with three Denver-based artists — Trine Bumiller, Sandra Fettingis, and Ashley Eliza Williams — to gauge the impact of the show and whether the reception of women producers today has evolved since the 1950s.
Kealey Boyd: Can you briefly give an account of your artistic training and what you're currently working on?
Trine Bumiller: At Rhode Island School of Design I started out as an illustration major. Due to department staffing issues I moved into printmaking. I studied etching and drawing in Rome. After an internship and graduation, I went to work for Betty Parsons Gallery in New York. Neo-Expressionism was really popular at the time, but I was at an Abstract Expressionist gallery. Because of that I started making really messy, thick, and abstract paintings.
Sandra Fettingis: I trained as a photographer at Art Center in Pasadena and Columbia College in Chicago, finishing in Chicago. I grew up with two artist parents, very traditional artists. My father is a watercolorist and paints portraits; my mother makes charcoal and pencil botanicals. I grew up thinking I had to be a representational artist. Photography allowed me to capture and represent life as is. I was shooting creative portraits, creating sets for my models. Eventually I realized I was more interested in the set design and slowly I took away the model. I moved to creating sculpture and set design. Taught myself. Becoming more and more abstract every year. Now I paint murals and sculptural instillations.
Ashley Eliza Williams: I earned my undergraduate degree at University of Virginia in art history, fine art, and creative writing. I painted portraits and the figure. Over time I became more abstract. I became more interested in intellectual landscapes or mental landscapes. I went to University of Colorado Boulder for graduate school, bringing me to the mountains. Now I think about human imagination and the landscape, and how the actual landscape becoming smaller can limit our imagination.
Works by Helen Frankenthaler in 'Women of Abstract Expressionism' (click to enlarge)
KB: As students, did you encounter any of the 12 women featured in Women of Abstract Expressionism show?
AEW: I only remember when studying art history in college, Abstract Expressionism was the first time women were mentioned. That was really exciting.
TB: Once I moved to New York City, I was exposed to Joan Mitchell and Elaine de Kooning.
KB: What impression did the exhibition make on you? Any surprises?
AEW: Helen Frankenthaler was fearless by staining a raw canvas, leaving no room for mistakes. Her work is … kind of gross in regard to her process and really muddy colors.
SF: Joan Mitchell is raw and graffiti-like.
TB: Mitchell feels like pre-Cy Twombly. In one moment, her work feels very European, like a Monet influence, a water quality. Each Mitchell painting is an encyclopedia of techniques. Perle Fine feels new, like her paintings could be made today and be fresh. Mary Abbott's lines are effervescent.
KB: Did you relate to any artist's work specifically? Did you see any visual language that you use?
Judith Godwin's "Woman" (1954) (click to enlarge)
SF: There were moments, like Judith Godwin's "Woman" (1954), where the work felt very controlled. There would be a repetitive line and then loose elements. It's more gridded and structured, which I identify with.
AEW: I am interested in the idea of distilling the landscape to its purest form. I first saw that idea in Frankenthaler and then I saw it everywhere. It is really exciting how that idea could be emotional. In my career I have looked back to the Abstract Expressionist artists to find emotion I thought was missing from contemporary works that were so … clean.
TB: The confidence of the work. To leave a line hanging, the bare canvas, the color choices, shows me an unexpected strength.
KB: Grace Hartigan said "I'm a process artist." As creators yourselves, were there any surprises about the production choices these artists made? Anything you may try in your practice?
TB: I was struck by Frankenthaler walking or sitting on the canvas. Perle Fine used a platform structure to sit above the canvas. Their process was physical.
AEW: It makes me want to work on a larger scale. (TB and SF agree.)
SF: The first encounter we had in the show was Jay DeFeo's "Incision" (1958–61). I was unaware there was anyone out there, or a female, that was doing that, especially at that time. It feels like a sculpture. That piece is hardcore. I want that depth in my work, a sculptural element.
Works by Jay Defeo in 'Women of Abstract Expressionism' (click to enlarge)
KB: In an interview with Hyperallergic in 2015, the show's curator, Gwen Chanzit, said: "Most [women] were not fully acknowledged in their time. … It's not so surprising that Abstract Expressionism, like other movements, has largely been defined by male painters." Do you see trends in art today defined by their male participants? Is there an art form today that is read as macho?
SF: Street art. It can be illegal, the artist carries all the physical materials. There is a possibility of being arrested. Males are more likely to go into that art form.
Elaine de Kooning's "Bullfight" (1959), which was acquired by the Denver Art Museum. (click to enlarge)
TB: The persona is one of a badass. Like those male Abstract Expressionists, the risk demands the label of being macho. I would add to that really big public art as fitting that description as well. Permanent art. There is an ego to making really big art and putting it out in public. In regard to public art commissions in Denver, the first for me was at the convention center. I didn't even think about the fact that I was the only woman commissioned for the convention center until the city made public the cost of each work. What I was paid for my work was one- fifth of the male artists. Did they pick me because I was a woman!? Did they pick me for a good deal?! It feels like (in a deep voice), "if you want a big piece of public art you need a big man to make it."
KB: In the exhibition catalogue, the art critic Irving Sandler writes: "I once asked Grace Hartigan if a male artist ever told her she painted as well as a man. She said, 'not twice.'" Do you encounter gendered critiques by professionals in the field — press, peers, or others?
AW: I've encountered some male artists that read a feminist agenda in any work by a woman artist. Even mine! Always referencing the body and psychology.
TB: In New York, I made paintings with sprouts, meaning vertical lines with bulbs at the end. A male artist asked me about why I made such phallic work. It didn't occur to me, but it didn't bother me that it was interpreted that way. But then I was embarrassed that I didn't see it that way.
SF: I've had people say my work is 'fun.' That waters down what I try to do. I don't feel like that would be said to a male artist. Makes me ill. I'm not sure why someone would say that. My shapes are really hard, and I use a lot of black.
TB: I heard my work was beautiful, but used it in a negative way.
Work by Grace Hartigan in 'Women of Abstract Expressionism'
KB: Did the show have a personal impact on your own creative process?
SF: It helps me have more confidence in my work. It gives my work weight.
TB: It's validation. No revolution happens overnight. It takes these little moments to chip away at the big block. Like a woman nominated for president, backlash about violence against women — these are all moments. It's a good thing.
AEW: It's amazing what these artists were able to accomplish in that time, that environment. It makes me feel lucky to be creating art now. It makes me excited to discover more about these women and their peers.
KB: What is at stake in this show? What is its argument?
TB: It is not about a hierarchy. It is about broadening the gaze. It can also be about people of color and where is that story here?
Mary Abbott's "Oisin's Dream" (1952) (click to enlarge)
SF: It's nice to see more than one painting per artist, and see some breadth of work. There is not a token representation, but an exhaustive effort. In art history you see the same artists in your lifetime. We learn through repetition and by having this show, and it being repeated and discussed, these names and their work may sink into our consciousness. Rewriting history through repetition.
TB: And having the real paintings out there in public. No one was aware at the opening the size of the actual works, how grand and physical. If you only see them in the book, or as a black-and-white image, or only one by a woman artist, it changes how you read it.
AEW: What people get upset about is the rewriting of history. But that is not the case here at all. It's presenting these works and their creators as worthy of more study. I also think there is an element of storytelling happening in popular culture; finding ways to bring people back from the dead and telling their story from their point of view. It's also about the power of art to tell stories, and it is really exciting. It makes me think about what story am I telling with my art.
A Krasner (right) with a Frankenthaler (middle left) in 'Women of Abstract Expressionism'
Women of Abstract Expressionism continues at the Denver Art Museum (100 West 14th Avenue Parkway, Denver, Colorado) through September 25. Trine Bumiller and Sandra Fittings are featured in Colorado Women in Abstraction at the Center for Visual Art (965 Santa Fe Drive, Denver, Colorado) through October 1. Ashley Eliza Williams will have a solo show at Goodwin Fine Art (1255 Delaware Street, Denver, Colorado) in November.
Joan Mitchell, a Brilliant Painter and Contrarian at Heart
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Clyfford Still's Questionable Attempts at "Preserving" Indigenous Culture
Tagged: Abstract Expressionism, Denver, Denver Art Museum, Elaine de Kooning, Feminism, Grace Hartigan, Helen Frankenthaler, Interviews, Jay DeFeo, Joan Mitchell, Judith Godwin, Perle Fine
Kealey Boyd
Kealey Boyd is an art historian and writer based in Denver.	More by Kealey Boyd
One reply on "Sexism and the Canon: Three Female Artists Reflect on 'Women of Abstract Expressionism'"
Carla Ellis says:
"What people get upset about is the rewriting of history. But that is not the case here at all."
Actually, the rewriting of history is lots of what's being done in discussions around this show.
The New York School was not a "men shutting out the women" history its actively being written as. Yes, men dominated the movement. But it was Lee Krasner (woman), not Clement Greenberg (man), who derided Helen Frankenthaler (woman) as "that tampon painter." It was Lee Krasner (woman) who took Hans Hoffman (man) to see Jackson Pollock (man) in his studio. It was Clement Greenberg (man) who leveraged his influence on Tibor de Nagy Gallery to accept Frankenthaler (woman) and promote her work. Her first museum retrospective was in 1960, while AbEx was still alive, and the catalogue was written by the major critic Frank O'Hara. (man).
This men vs women stuff makes for a good story but it's not history.


Anne Sexton's biography by Diane Middlebrook arrived in the mail today. I've been sneaking bits and pieces in the library, but now I have my OWN copy that I can write in and wonder and wander through. Some sentences are already highlighted – that's what happens when you buy a used copy, but I like to see what others find "IMPORTANT" information.
I'm already enthralled by her life and I'm wading through it trying to find pieces of myself inside. I'm amazed by how much psychology it is – how much psychology played a part in her writing. She never fully "discovered" her poetic self without it. Can I say she perhaps never discovered herself without it? I suppose that's the point of therapy…but she had severe lapses in her own memories, she had emotional explosions and couldn't remember their source – even from day to day events. She would be angry from the day before, but unable to pinpoint why, unable to map through her own feelings, until she found poetry.
So far what I think is really fascinating was her absorption of other's symptoms. In one hospital surrounded by schizophrenics, she began disassociating and displaying symptoms she hadn't previously exhibited. Was it illness riddled with empathy? Her lacking sense of self?
There are times when I'm so emotionally invested in something – a book, movie, life event, crime show on television – I almost feel as if the event is my own, the experience my own because I feel it so readily, so easily it swallows me. At times, I wonder if it's poetic empathy or more? Is it the need to find a more stable core – am I jumping from person to person to build blocks to myself; picking and choosing traits I admire, traits I hate, at times traits I won't ever have? And is it making me unhappy with the traits I do have – the ones that inherently make me me?
I'm not comparing my psychology to Anne Sexton's at all, she was sadly, deeply troubled and entering into her state of mind is at times terrifying, but what I find interesting is our emotional history. We each have one. A map of events and feelings leading up to now – a why we do this and why we do that because of this. I'm more sensitive to feeling invisible because there was a time I felt invisible – sitting in the corner of the couch, wanting to disappear and in effect doing just that. Perhaps my shyness fueled this sense of myself? Perhaps this self was fueled by my perception of what others thought of me? Perhaps this sense of self is arising again because I'm over analyzing her so much and looking for the traits in my past? Perhaps I am overlooking? We are watery stews. I'm my own simmering.


I don't subscribe to 'FAST' fashion or what I like to refer to as "landfill" fashion … cheap, disposal and anything but sustainable.
What is the philosophy and inspiration behind your label?
I am inspired by vintage finds, listening to their stories, letting the memories unfold. Legendary Hollywood starlets and random songs on my iTunes. I am driven by the design process, each thematic collection is an exploration that moves seamlessly from one season to the next. I focus on textile development, detailed cutting and quality craftsmanship.
With a distinctive handwriting that ranges from trademark delicate silk chiffon gowns, intricate handcrafted beadwork, embroidery and sharp tailored suits, the Aurelio Costarella brand is a luxurious offering of classic pieces with a contemporary edge.
This same philosophy is employed across all marketing and branding ideas, imagery and events.
Who are the people from whom you take inspiration and whom do you most admire within your industry?
The 1920's was a revolutionary era for fashion and signalled a far more modern way of dressing. Women were no longer restrained by corsetry. The silhouette changed to allow a softer approach. The introduction of bold colours and embellishments allowed women far more flexibility, creativity and freedom in the way they dressed. Garments became far more opulent and experimental thanks to the likes of designers such as Coco Chanel and Paul Poiret.
I have often drawn inspiration from this era. The individual styles of Josephine Baker, Tamara de Lempicka, Nancy Cunard and Lee Miller have influenced my work over the years.
Who is the Aurelio Costarella woman?
The Costarella woman is chic, bold, confident, discerning and design savvy. She appreciates and invests in quality, timeless pieces.
How long have you been designing and what do you believe is your greatest achievement to date?
When I was ten I 'created' a halter neck top on my Mum's old Singer sewing machine for the girl next door. At nineteen I was creating 'Buffalo Gal' clothing while studying Architecture. At twenty I dropped out of university and opened my first store…the fashion landscape has changed phenomenally since I started out thirty two years ago. Showing at New York Fashion week was a huge achievement but the greatest one is that I have survived all these years in this industry. In 2013 we celebrated 30 years by having a retrospective exhibition at the Western Australian Museum, which attracted 85,000 visitors.
Do you believe as I do, that Perth is a dynamic "hot spot" of talent? Why do you think that is?
In 1983 when I began my career, WA fashion designers had little impact on the national market place. Perth now has a local fashion community that sits confidently, not only on a national but on an international platform.
The WA government (Department of Culture and the Arts) implemented the Designer Fashion Grant system (similar to the New Zealand format) over 10 years ago. This funding is unique in Australia and gives financial support to emerging and established designers. I believe this has nurtured and supported the industry here.
Street fashion has it's place as a fashion staple. A large proportion of consumers are most comfortable wearing denim and sportswear inspired pieces during daily life. Fashion has changed enormously since the the launch of retailers such as Zara, H&M, Topshop, UniQlo.
Consumers now have an appetite for lower price/lesser quality, disposable fashion items. Certainly not an ethos I subscribe to.
My advice has always been to find work within the industry before attempting to launch a brand. The industry is notoriously fickle at best. Many young designers are naïve to the pitfalls of this industry.
What is your advice to young women and the way they dress? Are you pleased to see the hemline going a little more south?
I'm generally appalled by the way the majority of young women are dressing … there is nothing tasteful or flattering about a skimpy jersey dress with a plunging neckline and hemline that leaves very little to the imagination.
What influence do you think social media has had on our current fashion industry and do you think it is a positive or negative influence?
There is certainly a place for social media.
We just need to look at the continuing rise of bloggers to understand that this phenomenon is here to stay. I don't necessarily agree with the amount of attention bloggers are getting. Now the focus is not what is on the runway, but what a blogger wears to the runway show.
What is your favourite social media platform?
I am very fond of Instagram as a visual platform. Facebook and Twitter have become a little too nasty for my liking.
What age bracket do you design for?
The Aurelio Costarella product offering is focused around special-occasion dressing. Cocktail, evening wear and bridal, Costarella has become the go-to brand for an event requiring a special, stand-out statement piece.
Aurelio Costarella has a core audience of 25 – 45 year old women with a universal appeal across broad age groups.
Why do you think this country has so few men's designers?
Menswear is a tough market. I have never been brave enough to venture there.
What do you think of the phenomenon of fast fashion and how has it affected you as a local Australian designer?
I'm not a fan of the high street fashion stores. There is no denying that they have built hugely successful international business's, but at what cost?
Our focus has always been on creating pieces that are special and transcend fashion fads.
The Aurelio Costarella brand is not about creating seasonal product.
Our focus is on providing our customer with beautiful, investment pieces that are timeless.
I'm all about offering a point of difference. This is what an educated consumer wants. This is what my customer buys into.
Do you think our local industry is helped or hindered by what I call the "Zara" phenomenon?
Fast fashion is essentially for consumers that don't understand or appreciate the value of garments.
Do you ever think fashion bloggers look the same at events?
Funny you say that, I think they try to be individual. They may look the same as they have a similar talent, that is they have all mastered the art of the selfie.
How hard have you found it to show your collections and make connections overseas?
Being based in Perth it is actually more cost efficient to show overseas than over East. We have had various shows at New York Fashion Week, Shanghai and Japan and more recently began showing in Paris.
Showcasing your collection on an international platform covers a far greater media and buyer reach so the outlay is worthwhile. Australian designers have been very well received into the international marketplace. For Aurelio Costarella the Middle East market has proven a favourable market.
What designers do you love in Australia? Overseas?
I've always loved Rei Kawakubo. I wear a lot of Rick Owens, Dres Van Noten and Raf Simons.
What do you think about the prevalence of tattooes? Piercings? Do you think they had their day?
I'm guilty of having a tattoo!
Do you believe that PR companies are necessary to a designer's success? What advice would you give someone moving into fashion design?
It is interesting, when I first started it was about the product not the PR. Now young designers have a PR agent before they've even sold their first collection. To compete in the competitive modern market place I believe you do need to employ a strong PR manager that can promote you, direct you and also shield you.
How do you cope with the commercial aspects of your design trade?
The Aurelio Costarella business is focused on delivering luxury; women's wear apparel to a discerning, design savvy consumer seeking a designer product with a point of difference.
The business is built on offering a high-end consumer, a product imbued with quality, cut and detailing.
We focus on design, fit, functionality and wearability. This sets the Aurelio Costarella brand apart from many players in the same space.
We are in touch with our customer and retailer needs and understand what they are looking for.
Seasonal collections are tailored to work with market requirements and expectations.
Suzie Bubble, GaryPepperGirl, Lindy Klim.


text:
» Try It, Rate It
» 15 x Double Passes to see Love & Mercy in Cinema's
15 x Double Passes to see Love & Mercy in Cinema's
We all know the music, but few know the true story of musical genius, Brian Wilson. LOVE & MERCY paints an unconventional portrait of the artist by interweaving seminal moments from his youth and later life.
The role of Brian Wilson is masterfully shared between Paul Dano as the younger, 1960s Brian; and John Cusack as Wilson in the 1980s. The film explores the many challenges Brian has faced, both from his point of view in his younger years.
Explore the life, love and music of Brian Wilson. LOVE & MERCY in cinemas June 25.
Lydia26, Greenwood WA
This is a beautifully crafted films that looks at the ups and downs of Brian Wilson and how he struggled with his creative mind, love life and friends. It is a very raw film that is very moving. The costumes and scenery are very authentic and have been pieced together extraordinarily well.
Paul Dano plays the younger Brian Wilson and highlights his erratic, creative mind and portrays this well.
This movie is very captivating as it jumps between the past and present of Brian Wilson's life and the different individuals that affect his life and the choices that he makes.
Highly recommended for all. It is a film that shows the life of a magnificent artist and shows the raw truths.
Beli Samuel, Hurstville NSW
Very good movie, highly recommended!
Carly25, Craigmore SA
My fiancé and I loved this movie as it had something for the both of us - romance, suspense and a good story line. Would definitely recommend!
Sharon1551, West End QLD
I found Love and Mercy to be a raw and emotional look into the life of Brian Wilson. I was pleased it was not the usual story from beginning to end, but rather flicking back through the life of the younger and older Brian. The highlight for me was the "God only knows" song and the creativity of Brian and how this song was perfected. I was disturbed at how easily Brian was manipulated by the unethical therapist Dr Landy, and how it took a relative stranger to come into Brian's life and force the issue of his legal guardianship. There were one or two scenes in the middle of the film that were a little slow, but on the whole I found this to be a very thought provoking film and well worth watching.
claire, Palmwoods QLD
I really enjoyed this movie. I found it be beautifully written and very well made. Elizabth banks was the star of the movie, she played a very strong and passionate role
Susan74, We NSW
I grew up listening to the music of The Beach Boys and was looking forward to seeing this movie. I really enjoyed the interesting insight to Brian Wilson's life and the story behind one of the greatest song writers ever. This was a story that I didn't know much about. With great acting and terrific music, Love & Mercy is a film I would recommend.
mchong, Balwyn North VIC
Great movie. Fantastic actors, wonderer bioptic with actors that made me cry and laugh, I grew up in the Beach Boys era so it was a trip down memory lane.
Joelle15, Flagstaff Hill SA
I loved this movie. The only thing that's better than a true story turn movie is when the movie has an amazing soundtrack like this one. Also John Cusack played the part perfectly. Well worth a watch.
Strunza, Bunbury WA
Who would have know the struggles that Brian Wilson went through? A great movie.
Tze Ling, Rochedale QLD
Overall it is a feel good movie. More so if you know the Beach Boys and their song. Some bits can be quite slow. Especially when the play down the impact of his disease and his addictions. Even playing down the impact of his abuse and whether it has direct impact to his drug abuse later on or even his disease makes the movie no better than a movie that is base on a fiction story. So no real tears or laughters. Just okay.
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text:
Q: Difference between a DC SSR (solid state relay) and AC SSR I am trying to understand the difference between a DC and AC solid state relay. For electromechanical relays, I notice that they are often rated for some VAC load and a smaller DC load. Solid state relays, however, seem to be rated only for VAC or DC.
What would happen if one accidentally applied a DC load to a VAC solid state relay and vice versa?
Can one convert between each type with the addition of simple components (e.g. diodes, optocouplers, etc.)?
If I have a completely unmarked relay, how can I determine if it is for VAC or DC loads, preferably using a multimeter or similar device?.

A:
What would happen if one accidentally applied a DC load to a VAC solid
state relay and vice versa?

An SSR (solid state relay) that uses a triac as the switching element, when fed from a DC supply to a load that takes DC current, will never turn-off once activated. On an AC supply, by virtue of the supply alternating, it passes through zero every few milliseconds and, commutates the triac into an off state when it is no longer being activated by the control signal.
A DC SSR might not be capable of dealing with the reverse voltage situation of AC because it might only use a single MOSFET as the switch. What would happen then is that when the supply reverses, the MOSFET will act like a conducting diode hence, it would be inappropriate to use it in many situations.

Can one convert between each type with the addition of simple
components (e.g. diodes, optocouplers, etc.)?

No.

If I have a completely unmarked relay, how can I determine if it is
for VAC or DC loads, preferably using a multimeter or similar device?.

The same with any device that has no provenance; it's pretty useless and unreliable in all but the most desperate of situations. Don't get into that desperate situation is my advice. If you need an SSR, buy one that has provenance and a data sheet and one that is sourced via a reliable distributor from a recognized original manufacturing facility having decent quality standards.
What to check for when buying an electronic component or module.

A: An AC SSR normally uses a triac. When you release the gate voltage, the triac will continue conducting until the voltage across the triac (and the current through it) go to zero.
A DC SSR will use a MOSFET, and this will not provide the latch function of the triac. Furthermore, the MOSTET will only block current in one direction - in the other direction the body diode will conduct, so the SSR will conduct half the time even with no gate drive.
"What would happen if one accidentally applied a DC load to a VAC solid state relay and vice versa?"
If you use an AC supply (not load) with a DC SSR, you'll get power to the load half the time, with the other half of the time being either on or off depending on gate drive.
If you use a DC supply with an AC SSR, you're hosed. Once you've turned the load on, removing the gate drive will not turn off the load - and it will remain on until you turn off the DC supply (or remove the load from the SSR).
"Can one convert between each type with the addition of simple components (e.g. diodes, optocouplers, etc.)?"
Sort of. Sometimes.
If you put AC through a full-wave bridge and apply that to a DC SSR, that will work.
There is no easy workaround for a DC voltage and an AC SSR.

redpajama_set_name: RedPajamaStackExchange


YOUR INTENSIVE CARE HOTLINE - THE 5 THINGS YOU NEED TO KNOW IF THE MEDICAL TEAM IN INTENSIVE CARE WANTS TO "LIMIT TREATMENT", WANTS TO "WITHDRAW TREATMENT" OR "WITHDRAW LIFE SUPPORT" OR WANTS TO ISSUE A "DNR" (DO NOT RESUSCITATE) OR AN "NFR" (NOT FOR RESUSCITATION) ORDER FOR YOUR CRITICALLY ILL LOVED ONE!
I have literally seen thousands of families of critically ill Patients in Intensive Care experience intense pain and suffering when it came to their loved one being critically ill in Intensive Care!
And I have seen many many families of critically ill Patients in Intensive Care experience even more intense pain and suffering when it came to their loved one being in a situation where the Intensive Care team is trying to "LIMIT TREATMENT", "WITHDRAW TREATMENT", "WITHDRAW LIFE SUPPORT" or if they want to issue a "DNR" (do not resuscitate)/"NFR" (not for resuscitation) order!
I also had to overcome my own frustrations, my own challenges and my own struggles when I had to "withdraw life support" or "limit treatment" for critically ill Patients or when Patients have been issued with a "DNR" (do not resuscitate)/"NFR" (not for resuscitation) order!
I have been massively challenged by those situations when nursing at the bedside in Intensive Care for nearly 20 years!
I can assure you that despite my specialised training as an Intensive Care Nurse I was surprised and shocked too that way too many Patients in Intensive Care and their families get "sold" on "TREATMENT LIMITATIONS", "WITHDRAWAL OF TREATMENT", "WITHDRAW OF LIFE SUPPORT" or on "DNR" (do not resuscitate)/"NFR" (not for resuscitation) orders!
Often, nothing could be further from the truth!
I have also worked as a Nurse Unit Manager in Intensive Care for more than 5 years and that's given me plenty of insights of what's really happening "BEHIND THE SCENES" in Intensive Care and this is a shortcut for you to benefit directly from this insider knowledge.
A lot of my 1:1 counselling and consulting is with families who have a loved one critically ill in Intensive Care who is in a situation where Intensive Care teams are putting pressure on families to agree to a "withdrawal of treatment", to a "limitation of life support" and/or to "DNR"(Do not resuscitate) or "NFR"(Not for resuscitation) orders!
The good news is, I know I can help families in those situations and I can help them very quickly!
The good news is, I can help families to get results very quickly they previously thought they could never get!
Having a loved one critically ill in Intensive Care is a massive challenge and it's even more challenging when the Intensive Care team is telling you that they want to "LIMIT TREATMENT", "WITHDRAW TREATMENT", "WITHDRAW LIFE SUPPORT" or if they want to issue a "DNR" (do not resuscitate)/"NFR" (not for resuscitation) order!
It is literally a "life or death" situation that you and your family can't afford to get wrong and you know it!
Most Families of critically ill Patients in Intensive Care are baffled if the Intensive Care team is telling them that they think it's "IN THE BEST INTEREST" for your critically ill loved one to "LIMIT TREATMENT", "WITHDRAW TREATMENT", "WITHDRAW LIFE SUPPORT" or if they want to issue a "DNR" (do not resuscitate)/"NFR" (not for resuscitation order)!
Or even worse, the Intensive Care team is wrongly implying that they don't have other options but to "LIMIT TREATMENT", "WITHDRAW TREATMENT", "WITHDRAW LIFE SUPPORT" or issue a "DNR" (do not resuscitate)/"NFR" (not for resuscitation) order as being "IN THE BEST INTEREST" for your critically ill loved one!
The sad reality is that Intensive Care teams are telling families of critically ill Patients in Intensive Care all the time that a "TREATMENT LIMITATIONS", "WITHDRAWAL OF TREATMENT","WITHDRAWAL OF LIFE SUPPORT", a "DNR" (do not resuscitate)/"NFR" (not for resuscitation) order is "IN THE BEST INTEREST" for their critically ill loved one!
Think about this for a minute. How could this ever be?
Most Families of critically ill Patients in Intensive Care- in fact 99% of Families of critically ill Patients in Intensive Care- make no informed decisions, have no PEACE OF MIND, no control, no power and no influence and they have no idea that this is happening every single day all over the world!
What's leading up to this is that decision making in Intensive Care is happening "BEHIND THE SCENES"!
It tends to be so powerful that it's almost always impacting on how the Intensive Care team is positioning your critically ill loved one's diagnosis and prognosis, including "TREATMENT LIMITATIONS", "WITHDRAWALS OF TREATMENT", "WITHDRAWALS OF LIFE SUPPORT", as well as "DNR" (do not resuscitate)/ "NFR" (not for resuscitation) orders!
What's the name of the Ebook, the 2 Videos and the 2 Audio recordings again?
is absolutely crucial information for you and your family to have!
If you don't understand what's happening in Intensive Care, especially when it comes to "limitations of treatment", "withdrawal of treatment", "withdrawal of life support" situations or "DNR" (do not resuscitate)/"NFR" (Not for resuscitation) orders, you are literally doomed!
On the other hand, if you and your family know and understand what is really happening in Intensive Care when it comes to "treatment limitations", "withdrawal of life support", "DNR"(Do not resuscitate)/"NFR"(Not for resuscitation) orders, you and your family will be able to make informed decisions, get peace of mind, control, power and influence!
As you know by now, the Intensive Care team has no interest in transparency, because the stakes in this multi- Billion Dollar $$$ per year industry that is Intensive Care are way too high!
And I have seen many many families families of critically ill Patients in Intensive Care experience intense pain and suffering when it came to "withdrawal of treatment", "withdrawal of life support", "limitation of treatment", "DNR" (Do not resuscitate)/"NFR" (not for resuscitation) orders and situations!
Understanding the decision making framework of the Intensive Care team is crucial for you and your family!
Other things they include into their decision making process when it comes to "withdrawal of treatment", "withdrawal of life support", "limitation of treatment", "DNR" (Do not resuscitate)/"NFR" (not for resuscitation) orders and situations are non-emotional and they are a direct result of what's happening "BEHIND THE SCENES" in Intensive Care!
If that's you, the Intensive Care team has wrapped you around their little finger and the Intensive Care team can easily "sell' you and your family on a "withdrawal of treatment", a "withdrawal of life support", a "limitation of treatment", a "DNR" (Do not resuscitate)/"NFR" (not for resuscitation) order as being "IN THE BEST INTEREST" for your critically ill loved one!
It means you and your family are at the mercy of the Intensive Care team!
On the other hand, if you and your family can finally be in a position in how to successfully challenge the Intensive Care team, they also know that they are dealing with a powerful family that's making informed decisions, gets peace of mind, control, power and influence!
· challenge the Intensive Care team's assumptions, because those assumptions are mainly a result from what's happening "BEHIND THE SCENES" in Intensive Care and they are not based on your goals but on the ICU team's goals!
· step into your own power and make informed decisions, get PEACE OF MIND, have control, have power and have influence!
· Find out exactly what decisions the Intensive Care team makes the minute your critically ill loved one is being admitted to Intensive Care and what it means for your critically ill loved one's diagnosis and prognosis, as well as the care and treatment they are receiving or not receiving!
· Discover why the Intensive Care team is only talking about "perceived situations" and how you can change the perception, including the Intensive Care team's perception!
· Discover how you can turn your weakness of not knowing anything about Intensive Care into your greatest strength! It's something the Intensive Care team doesn't expect and it'll turn the tables in your favour if you master this skill!
· What you need to know about how the Intensive Care team's negative outlook on life impacts on the positioning of your critically ill loved one's diagnosis and prognosis, as well as the care and treatment offered or not offered to your critically ill loved one!
· you'll get real world examples that you can easily adapt to your and your critically ill loved one's situation!
· Why your critically ill loved one's age is not as important as you think it is, especially if the Intensive Care team pointing out your critically ill loved one's age!
· What you must know about the financial budget in an Intensive Care Unit and how it impacts on the positioning of your critically ill loved one's diagnosis and prognosis by the Intensive Care team, as well as the care and treatment offered or not offered to your critically ill loved one!
· The secret insider knowledge about NFR (Not for resuscitation) orders and DNR (Do not resuscitate) orders that that the Intensive Care team does not want you to know!
Intensive Care teams are so shrewd and adept to "sell" you and your Family on what might be "IN THE BEST INTEREST" of your critically ill loved one, without you and your Family knowing and understanding what's really happening or what's happening "BEHIND THE SCENES" in Intensive Care!
The Ebook, the 2 Videos and the 2 Audio recordings will show you how you can powerfully position yourself and your critically ill loved one whenever you are faced with this challenging, difficult and often heartbreaking situation!
you will be able to make informed decisions, get PEACE OF MIND, control, power and influence as a direct result of you knowing and understanding what's happening!
· it's another stepping stone for you and your family to finally make informed decisions, have PEACE OF MIND, have the control, have the power and the influence you know you'll need!
· the Ebook, the 2 Videos and the 2 Audio recordings will help you tremendously when you communicate with the doctors and the nurses in Intensive Care and it'll show the Intensive Care team that you have insider knowledge that normally only ICU doctors and nurses have!
· the Intensive Care team immediately realises that you speak the "secret Intensive Care language", which they don't expect and speaking the "secret Intensive Care language" will give you an ultimate advantage!
· is based on real world experience!
the Ebook, the 2 Videos and the 2 Audio recordings for free and then pay only $27 after two weeks you can try it for 2 weeks at my risk and you'll only pay after 2 weeks of the purchase!
Therefore you can try it out for free and see if you like it or not!
The value of the Ebook, the 2 Videos and the 2 Audio recordings are at least $1,000 and here you can get the Ebook, the 2 Videos and the 2 Audio recordings for free and then pay only $27 after two weeks and you can try it for 2 weeks for free at my risk and you'll only pay after 2 weeks of the purchase!
You get the Ebook, 2 Videos and 2 Audio recordings and I take the risk, because I'm that confident that the Ebook will change your, your family's and your critically ill loved one's life!
that comes with 1 Ebook, 2 Videos and 2 Audio recordings for free now!


text:
BIE Expands Business Transformation Practice
Executive recruitment firm BIE Executive has announced the appointment of management consultant Fabrice Rodrigue to its Business Transformation Practice.
"Clearly the experience and expertise of a management consultancy is invaluable to mitigate the risks involved in major transformation programmes", said Ben Hawkins, who leads BIE's Transformation Practice. "However, our clients increasingly tell us that they also want to retain control, build capability within their organisation and create a lasting legacy when going through major change, which is why they often opt for an in-house model, bringing in interim executives."
"By bringing on board the expertise of a respected and experienced management consultant, we are much better placed to help our clients really understand their requirements and help them develop a transformation model that gives them the best of both worlds," Mr Hawkins added.
Before joining BIE, Mr Rodrigue led transformation programmes. In addition to his background of process, technology and change, he brings particular experience in supply chain and procurement, gained most recently at Ernst & Young and previously with Atos KPMG Consulting, Chaucer Consulting and Accenture.
At Ernst & Young, Mr Rodrigue led, developed and created methodology and thought leadership around the major programme transformation solution offering. He has experience in the arenas of target operating model (TOM) design and process and design transformation. He has led business transformation programmes for organisations across a range of sectors, including the MoD, National Grid, Ericsson, NatWest, Sainsbury's, Caterpillar and BP.
BIE Executive CEO Rob Walker said: "We're delighted to have an accomplished and experienced large scale transformation programme delivery director such as Fabrice join our team. His appointment underpins our commitment to evolving with our clients as the market changes."
"BIE have built a market leading reputation for building business transformation teams. They are once again anticipating the market, and I'm excited to be working with their clients to deliver best-in-class transformation solutions," said Mr Rodrigue.
search-consult is published by Dillistone Systems, supplier of FileFinder Executive Search software. Dillistone Systems is part of Dillistone Group Plc, as are Voyager Recruitment Software and FCP Internet, supplier of the Evolve Recruitment Software SaaS system.


text:
\section{Zero-temperature DFT calculations}
\label{sec:static}

\begin{figure}
\centerline{
\includegraphics[width=0.80\linewidth]{eos-exp-theory.eps}}
\caption{[Supplemental](Color online)~Calculated (solid red line)
         and measured equation of state of CaF$_{2}$ at low temperatures.
         Experimental data are from works~[\onlinecite{kavner08,gerward92}].}
\label{fig1}
\end{figure}

\begin{figure}
\centerline{
\includegraphics[width=0.80\linewidth]{raman.eps}}
\caption{[Supplemental]~Measured and calculated Raman frequencies
         in $\alpha$-CaF$_{2}$ at low temperatures and expressed as a
         function of pressure.}
\label{fig2}
\end{figure}

Total energy calculations were carried out in CaF$_{2}$ under pressure in the cubic fluorite
and orthorhombic cotunnite phases, employing the methods and parameters described in
the main text of the present Letter. As it may be appreciated in the supplemental Fig.~\ref{fig1},
the agreement between our calculated equation of state and experimental data from
Refs.~[\onlinecite{kavner08,gerward92}] is remarkably good.

In order to calculate the vibrational phonon frequencies of CaF$_{2}$, we employed
the direct approach~[\onlinecite{kresse95,alfe01}]. In this method, the force-constant matrix is directly
calculated in real-space by considering the proportionality between the atomic displacements
and forces when the former are sufficiently small. Large supercells must then be constructed
in order to guarantee that the elements of the force-constant matrix have all fallen off to
negligible values at their boundaries, a condition that follows from the use of periodic boundary
conditions. In the present work, we employed simulation boxes larger than $216$ atoms and
dense ${\bf k}$-point grids in the calculation of the atomic forces with VASP.
Computation of the nonlocal parts of the pseudopotential contributions was performed in reciprocal,
rather than real, space. Once the force-constant matrix is thus obtained, we can Fourier transform
it to obtain the phonon spectrum at any ${\bf q}$ point. This step was done with the PHON code due
to Alf\`e~[\onlinecite{alfe09a}]. In using this code, we exploited the translational invariance of the
system to impose the three acoustic branches to be exactly zero at the ${\bf q}$ point, and used
central differences in the atomic forces (i.e., we considered positive and negative atomic displacements).

We must note, however, that convergence of the force-constant matrix elements with respect to the size
of the supercell in ionic materials may be slow due to the appearance of charge dipoles and macroscopic
electric fields in the limit of zero wave vector. Fortunately, long-range dipole-dipole interactions can
be modeled at the harmonic level from knowledge of the atomic Born effective charge tensors and the dielectric
tensor of the material~[\onlinecite{gonze89,baroni01}].
Taking advantage of this result, Wang \emph{et al.} proposed a mixed-space approach in which accurate
force constants are calculated with the direct approach in real space and long-range dipole-dipole
interactions with linear response theory in reciprocal space~[\onlinecite{wang10,cazorla13}]. In the present
work, we used Wang \emph{et al.} mixed-space approach to calculate the vibrational phonon frequencies
of CaF$_{2}$ at different volumes.

In the supplemental Fig.~\ref{fig2}, the Raman frequencies that we have measured ($T = 300$~K) and
calculated ($T = 0$~K) in $\alpha$-CaF$_{2}$ under compression are represented. The agreement between our
measurements and calculations is good (i.e., within the $5$~\% of difference), especially in
what concerns the variation of the Raman frequency with pressure which is found to be almost constant and
equal to $6.0$~cm$^{-1}$/GPa in the experiments and $6.2$~cm$^{-1}$/GPa in the simulations. Both our experimental and theoretical results are in good agreement with previous experiments~[\onlinecite{speziale02}].

\section{One-phase and Two-phase coexistence \emph{ab initio} molecular dynamics simulations}
\label{sec:dynamic}

\begin{figure}
\centerline{
\includegraphics[width=0.70\linewidth]{melting-box.eps}}
\caption{[Supplemental](Color online)~Determination of melting temperatures
                based on two-phase coexistence \emph{ab initio} molecular dynamics
                simulations.
                \emph{Top}: Atomic positions projected over the $x-y$ plane of
                 the simulation box. Calcium and fluorine ions are represented
                 with large~(dark blue) and small~(bright blue) spheres, respectively.
                \emph{Bottom}: Number of particles histogram represented as a function
                of position along the direction parallel to the initial superionic-liquid
                boundary.}
\label{fig3}
\end{figure}

Our \emph{ab initio} molecular dynamics (AIMD) calculations were of two types: one-phase
(i.e., solid and superionic phases) and two-phase coexistence (i.e., liquid and superionic
phases coexisting in thermodynamic equilibrium) simulations.
One-phase simulations were performed in the canonical $( N, V, T )$
ensemble while two-phase coexistence simulations in the microcanonical $( N, V, E )$ ensemble.
In the $( N, V, T )$ simulations the temperature was kept fluctuating around a set-point
value by using Nose-Hoover thermostats. Large simulation boxes containing $192$
and $648$ atoms were used in our one-phase and two-phase coexistence simulations,
respectively. Periodic boundary conditions were applied along the three Cartesian directions
in all the calculations. Newton's equations of motion were integrated using the customary
Verlet's algorithm and a time-step length of $10^{-3}$~ps.
$\Gamma$-point sampling for integration within the first Brillouin zone was employed in all
our AIMD simulations.

Comprehensive one-phase $(N , V, T)$ molecular dynamics simulations were carried out in order
to compute the $\alpha-\beta$ and $\delta-\epsilon$  phase boundaries in CaF$_{2}$ as a function
of pressure. Calculations comprised large simulation boxes and long simulation times of up to
$\sim 30$~ps. We systematically carried out simulations at temperature intervals of
$250$~K, from $1000$ up to $3500$~K, at each considered volume.

Following previous works~[\onlinecite{cazorla07a,cazorla07b,cazorla09,cazorla11,cazorla12,alfe09}],
we performed comprehensive $( N, V, E )$ two-phase coexistence MD simulations in order to determine
the melting curve of CaF$_{2}$ at low and high pressures. Starting with a supercell containing
the perfect crystal structure (i.e. either cubic fluorite or orthorhombic $Pnma$), we thermalize it
at a temperature slightly below the expected melting temperature for about $4$~ps. The system remains
in a superionic state.
The simulation is then halted and the positions of the atoms in one half of the supercell are
held fixed while the other half is heated up to a very high temperature (typically five times
the expected melting temperature) for about $4$~ps, so that it melts completely. With the fixed
atoms still fixed, the molten part is rethermalized to the expected melting temperature (for about
$2$~ps). Finally, the fixed atoms are released, thermal velocities are assigned, and the whole system
is allowed to evolve freely at constant $( N, V, E )$ for a long time (normally more than $20$~ps),
so that the solid and liquid come into equilibrium.
The system is monitored by calculating the average number of particles in slices of the cell
taken parallel to the boundary between the solid and liquid. With this protocol, there is a
certain amount of trial and error to find the overall volume which yields the coexisting solid
and liquid system. An example of a successful coexistence run is shown in the
supplemental Fig.~\ref{fig3}.

\section{Formation energy of Frenkel pair defects under pressure}
\label{sec:frenkel}

We calculated the formation energy of Frenkel pair defects (FPD)
in cubic CaF$_{2}$ at different pressures. We used a simulation box
containing $96$ atoms and a $2 \times 2 \times 2$ Monkhorst-Pack
${\bf k}$-point grid for integrations within the first Brillouin zone.
We found that the series of calculated energies (see the supplemental
Fig.~\ref{fig4}) could be very well fitted to the power law function
\begin{equation}
E_{FPD} (P) = E_{0} + a \cdot P^{b}~,
\end{equation}
where the optimal values of the parameters are $E_{0} = 2.07$~eV, $a = 0.054$~eV
and $b = 0.851$.
It is noted that the formation energy of FPD increases monotonically and
appreciably with compression.

\begin{figure}
\centerline{
\includegraphics[width=0.80\linewidth]{frenkel.eps}}
\caption{[Supplemental]~Calculated formation energy of Frenkel
         pair defects in $\alpha$-CaF$_{2}$ under pressure.
         The solid line represents a numerical fit to the
         series of computed points (see text).}
\label{fig4}
\end{figure}

\section{Crystal structure searches}
\label{sec:crystsearch}

Our crystal structure searches performed in compressed CaF$_{2}$ relied on two different
strategies, namely (i)~comprehensive atomic relaxations of configurations generated in
constrained low-$T$ AIMD runs, and (ii)~enthalpy calculation of phases that have been recently
observed and predicted in isomorphic AB$_{2}$ compounds under pressure.

In our restricted low-$T$ AIMD runs, we used a small simulation cell containing
$24$ atoms in the orthorhombic $Pnma$ phase and set the temperature to ambient
conditions. Consistently to the observed $\gamma \to \delta$ transition, we constrained
the Ca$^{2+}$ cations not to move during the dynamical simulations. The total duration of
these AIMD runs was $\sim 20$~ps. Once these simulations were finished, we randomly selected
$100$ configurations out of $10,000$ and performed atomic and crystal cell relaxations in them.
During the geometry optimizations all cations and anions were allowed to move. Subsequently,
we identified the crystal symmetry of the final equilibrium structures with the ISOTROPY
package~[\onlinecite{isotropy}].
Following this strategy, we obtained the five candidate high-$T$ crystal phases that we mention
in the main text of the present Letter (i.e., orthorhombic $P2_{1}2_{1}2_{1}$ and $Pmn2_{1}$, and
monoclinic $Pc$, $P2_{1}$ and $P2_{1}/c$).

We also computed the energy of the post-cotunnite $P112_{1}/a$ and $P2_{1}/n$ phases in CaF$_{2}$ under
pressure. These phases have been recently observed and predicted in bulk AuIn$_{2}$
and AuGa$_{2}$ respectively~[\onlinecite{godwal10,godwal13}], which are isomorphic materials to
CaF$_{2}$. By following this strategy, however, we did not find any promising high-$T$ candidate crystal phase since their corresponding enthalpies were too large in comparison to those of
the crystal structures obtained with strategy (i).

\section{Structural data, phonons and enthalpy of the predicted high-$T$ monoclinic $P2_{1}/c$ phase}
\label{sec:p21c}

\begin{figure}
\centerline{
\includegraphics[width=0.40\linewidth]{p2_1c.eps}}
\caption{[Supplemental](Color online)~Sketch of the predicted
         high-$T$ monoclinic $P2_{1}/c$ phase. Large~(Blue)
         and small~(grey) spheres represent calcium and fluorine
         atoms, respectively.}
\label{fig5}
\end{figure}

\begin{figure}
\centerline
        {\includegraphics[width=0.80\linewidth]{phonon-a.eps}}
        {\includegraphics[width=0.80\linewidth]{phonon-b.eps}}
\caption{[Supplemental]~Calculated phonon spectrum of the predicted
         high-$T$ monoclinic $P2_{1}/c$ phase at different pressures.}
\label{fig6}
\end{figure}

\begin{table}
\begin{center}
\label{tab:structure}
\begin{tabular}{c c c c c}
\hline
\hline
$  $ & $  $ & $  $ & $  $ & $ $ \\
\multicolumn{2}{c}{$P2_{1}/c$} & $ a = 3.347$~\AA &  $ b = 6.032$~\AA  &  $ c = 7.477$~\AA  \\
\multicolumn{2}{c}{${\rm (P~=~13.4~GPa)}$} & $ \alpha = 90~^{\circ}$ &  $ \beta = 116.6~^{\circ}$  &  $ \gamma = 90~^{\circ} $  \\
$  $ & $  $ & $  $ & $  $ & $ $ \\
\hline
$  $ & $  $ & $  $ & $  $ & $ $ \\
${\rm Atom} $ & $ {\rm Wyc.} $ & $ x $ & $ y $ & $ z $ \\
$  $ & $  $ & $  $ & $  $ & $ $ \\
${\rm Ca} $ & $ 4e $ & $ 0.37156 $ & $ 0.75481 $ & $ 0.12145 $ \\
${\rm F}  $ & $ 4e $ & $ 0.31867 $ & $ 0.14034 $ & $ 0.06867 $ \\
${\rm F } $ & $ 4e $ & $ 0.08291 $ & $ 0.53005 $ & $ 0.83343 $ \\
$  $ & $  $ & $  $ & $  $ & $ $ \\
\hline
\hline
$  $ & $  $ & $  $ & $  $ & $ $ \\
\multicolumn{2}{c}{$P2_{1}/c$} & $ a = 3.353$~\AA &  $ b = 5.620$~\AA  &  $ c = 7.477$~\AA  \\
\multicolumn{2}{c}{${\rm (P~=~24.4~GPa)}$} & $ \alpha = 90~^{\circ}$ &  $ \beta = 116.6~^{\circ}$  &  $ \gamma = 90~^{\circ} $  \\
$  $ & $  $ & $  $ & $  $ & $ $ \\
\hline
$  $ & $  $ & $  $ & $  $ & $ $ \\
${\rm Atom} $ & $ {\rm Wyc.} $ & $ x $ & $  y $ & $  z $ \\
$  $ & $  $ & $  $ & $  $ & $ $ \\
${\rm Ca} $ & $ 4e $ & $ 0.36963 $ & $ 0.75135 $ & $ 0.11987 $ \\
${\rm F } $ & $ 4e $ & $ 0.31873 $ & $ 0.14546 $ & $ 0.06872 $ \\
${\rm F } $ & $ 4e $ & $ 0.07811 $ & $ 0.52958 $ & $ 0.82824 $ \\
$  $ & $  $ & $  $ & $  $ & $ $ \\
\hline
\hline
\end{tabular}
\end{center}
\caption{[Supplemental]~Structural data of the predicted high-$T$ monoclinic
         $P2_{1}/c$ phase calculated at different pressures.
         Wyckoff positions were generated with the ISOTROPY package~\cite{isotropy}.}
\end{table}

\begin{figure}
\centerline
        {\includegraphics[width=0.80\linewidth]{srf2-p21c.eps}}
        {\includegraphics[width=0.80\linewidth]{baf2-p21c.eps}}
\caption{[Supplemental]~Calculated enthalpy of several crystal structures referred to
         that of the cubic $\alpha$ phase and expressed as a function of pressure
         in SrF$_{2}$ and BaF$_{2}$.
         \emph{Inset}: Detail of the enthalpy difference between the $P2_{1}/c$
         and $Pnma$ phases.}
\label{fig7}
\end{figure}

A sketch of the new high-$T$ monoclinic $P2_{1}/c$ phase predicted in CaF$_{2}$ at high-$P$
is shown in the supplemental Fig.~\ref{fig5}. This structure has a similar cation coordiantion polyhedra to
that of the orthorhombic $Pnma$ phase. On it each calcium is coordinated to $9$ fluorine atoms
that form an elongated tricapped trigonal prism. Structural data of this monoclinic phase
obtained at different pressure conditions are enclosed in Table~I.

We computed the phonon spectrum of this high-$T$ monoclinic phase at different pressures
employing the methodology explained in this supplemental document (see Sec.~\ref{sec:static}),
and found that it was vibrationally and mechanically stable (see the supplemental Fig.~\ref{fig6}).

The results of our enthalpy calculations in SrF$_{2}$ and BaF$_{2}$ compounds
are enclosed in the supplemental Fig.~\ref{fig7}. In particular, we computed the enthalpy energy
of the cubic fluorite, orthorhombic $Pnma$, hexagonal $P6_{3}/mmc$, and
monoclinic $P2_{1}/c$ phases in the corresponding pressure regimes of interest. As we
found in CaF$_{2}$, the monoclinic $P2_{1}/c$ phase turns out to be energetically very
competitive with respect to the orthorhombic $Pnma$ phase, and actually under some
conditions the enthalpy difference between the two phases is zero within our numerical
accuracy (i.e., $3$~meV/f.u.).

\clearpage

redpajama_set_name: RedPajamaArXiv


text:
package org.hawkular.metrics.api.jaxrs.util;

import com.codahale.metrics.MetricRegistry;

/**
 * Shares a single {@link MetricRegistry} instance.
 *
 * @author Thomas Segismont
 */
public enum MetricRegistryProvider {
    INSTANCE;

    private final MetricRegistry metricRegistry;

    MetricRegistryProvider() {
        metricRegistry = new MetricRegistry();
    }

    public MetricRegistry getMetricRegistry() {
        return metricRegistry;
    }
}

redpajama_set_name: RedPajamaGithub


Abstract: This article investigates, by probabilistic methods, various geometric questions on B_p^n, the unit ball of \ell_p^n. We propose realizations in terms of independent random variables of several distributions on B_p^n, including the normalized volume measure. These representations allow us to unify and extend the known results of the sub-independence of coordinate slabs in B_p^n. As another application, we compute moments of linear functionals on B_p^n, which gives sharp constants in Khinchine's inequalities on B_p^n and determines the \psi_2-constant of all directions on B_p^n. We also study the extremal values of several Gaussian averages on sections of B_p^n (including mean width and \ell-norm), and derive several monotonicity results as p varies. Applications to balancing vectors in \ell_2 and to covering numbers of polyhedra complete the exposition.


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Almost a quarter of a century old, Seven Hills Hospital is still amongst the top multi-specialty facilities in Vizag. This ISO certified 250-bed hospital provides healthcare covering a wide spectrum of medicine. Comprehensive cardiac care is provided here in terms of diagnostic, surgical and intensive care facilities. An exclusive cardiac care unit with state-of-the-art equipment is provided for patients undergoing procedures in the hospital.
The nephrology and urology departments treat diseases related to the kidney and the urinary system. Dialysis machines are available and even transplants are performed here. Gynecology and obstetrics, neurology, ophthalmology, ENT (ear, nose and throat), pediatrics, gastroenterology, plastic surgery, infertility treatment and trauma care are some of the other areas of treatment here. The hospital has a separate burn unit, neonatal intensive care unit, acute medical care unit, surgical intensive care unit etc. All these units have beds equipped with the latest monitoring equipment and ventilators. We were also told that the hospital's operation theatres boast the most modern fittings and support infrastructure.
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text:
Saturday , January 28 2023
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Tuesday, May 14th at 8:30 a.m. in the SWCD office.
Application (with field maps) Due June 14th.
2018 County Fair Guessing Contest!
Winner Winner Chicken Dinner - or whatever he wants at Bob Evans! Kole Gish of Apple Creek was the winner of our guessing contest at the 2018 Wayne County Fair. He guessed 320 Swedish Fish in the container - the correct guess was 322! The answer to our tie breaker question "Which (US) State harvests the most fish?" That would be Alaska!
CONGRATULATIONS TO KOLE & THANK YOU TO ALL THAT VISITED US AT THE FAIR!
Back to School - Educators - This newsletter is for you - The Conquest!
Also, you might want to Consider Conservation - Education Programs. Contact our Education Specialist, Kelly Riley for more details.
Thank you for helping us Collect Milkweed Seed Pods!
Once again we are collection Milkweeds for Monarchs! Sept. 1st-Oct. 31st - visit the Landowner section for more info & pollinator links!


This guy looks pretty darn good.
14k's in 13.1 IP pretty good stat there. Low Era. Looking pretty dominant.
acsguitar wrote: This guy looks pretty darn good.
2. What's the point? He's not gonna start.
if he keeps it up he could find his way into the rotation. he's a 6'10" freak of nature.
j_d_mcnugent wrote: if he keeps it up he could find his way into the rotation. he's a 6'10" freak of nature.
you sure? So far Billy Traber, Michael O'Donnel and Zach Day has made it ahead of him.
3. Cordero is not gonna stink it up.
yeah and what happened to those guys? traber bombed. day has bombed this year and has a sore shoulder. o'conner had ok results yesterday but something like an 85 mph fastball. the nats have thrown crud at the wall and nothing has stuck yet. didnt say rauch will start. i said he could. he has started in the past.
they bombed is not my point, my point is that they even got a chance ahead of Rauch.
Day sucked so far this year, due to some injury issues.
O'Connor was in AA I believe.
and why is Ortiz still in the rotation?
you arent understanding my point. my point is that they are running out of options.
I hope you are right but I never even thought that O'Donnel was an option. And with Drese and Astacio coming back soon, the window of opportunity is closing.


I had always considered making a change whenever I watched a particularly moving video on animal welfare, but never went through with it. After years of putting it off, I finally decided to go vegetarian for a week. I never particularly liked meat, and usually chose tofu as my protein when given the choice. One of my friends had gone vegan for a year and told me I should try it, too. Going vegan seemed like too much of a jump, so I decided to make vegetarianism a stepping stone.
On Monday, a friend suggested we get Indian for dinner, and after looking up the menu for Mumbai Indian Grill, I agreed. I ordered the Aloo Chana, a curry made of chickpeas and potatoes. Between the blueberry bagel from Einstein's I had for lunch and the curry, I was definitely consuming a lot of carbs. The menu at Mumbai had a separate vegetarian entree section, which made it easier for me, as I didn't have to be tempted by non-vegetarian options. My friend ordered an eggplant curry, so that I could try that as well. My other friend, however, decided he would order my favorite curry, the Chicken Tikka Masala. Thanks a lot. The two vegetarian curries were delicious, as were the rice and naan.
For Tuesday lunch, I decided to head to my number one on-campus dining spot: International Dish. Because I often get tofu as my protein, I thought ordering tofu would be an easy way to have a filling lunch while not breaking my vegetarian diet. But as I looked up at the TV screen listing the choices of sauces, I realized that the sauces I usually ate were all non-vegetarian. During my vegetarian week, I had four different sauce and carb combinations, all with tofu. Out of the four, only one was a success. Tuesday's lunch of Indian curry and white rice was not.
I grabbed an egg sandwich with spinach, mushroom and swiss and an orange juice from Einstein's while waiting for my next class to start on Wednesday morning. Although I missed the savory crunch of bacon in my sandwich, it was still pretty great. At the very least, the sandwich kept me full until lunch, which consisted of a rather disappointing salad from Frontera.
My first meal on Thursday consisted of another less-than-stellar creation at International Dish. The only vegetarian protein option seemed to be jackfruit, and I could get it in a torta, taco or burrito. Because I was craving carbs, I went for the burrito. I usually love eating fruit with other food (I'm a fan of pineapple pizza), but jackfruit in a burrito wasn't a good combination. I ended up picking out whatever lumps of jackfruit I could, and eating the remaining mix of tortilla, rice, onions and tomatoes.
I went grocery shopping at Whole Foods with two friends, who were making salmon with cream sauce for Friday's dinner. I tagged along and picked out a plant-based burger patty. Just in case it didn't turn out well, I also bought a box of mac n' cheese from their hot food bar. The patties were actually smoky (although that might have been because I burned them a bit), and if they had been in an actual burger, I'm pretty sure I wouldn't be able to tell they weren't meat. But my friends' cream sauce and sauteed onion covered salmon looked amazing, and I couldn't tear my eyes off of it. Maybe I should have tried going pescatarian, instead?
I had a scare Saturday afternoon; while I was eating a bowl of Cocoa Puffs, my suite-mate suddenly asked me if it was vegetarian! For a second, I was terrified that I had broken my vegetarian diet, until I realized I was eating something very far from meat and he had made a mistake. My biggest challenge of the week was Saturday dinner, when my friends and I had a barbecue. For some reason, I ended up in charge of cooking the meats, which meant I had to cook pork belly, steak strips, chicken breasts and Italian sausages. After throwing onions, asparagus and pineapple on the heat, I fried up the vegetarian sausages and patties I bought. They didn't taste bad, but still paled in comparison to the meats that were heaped on the table. I ended up sitting on the couch and eating a pint of ice cream to console myself. Hosting a barbecue as a vegetarian was clearly a bad decision.
I had meeting after meeting on Sunday, and it wasn't until mid-afternoon that I was able to make my way to Norris to grab a late lunch. Subway was one of the few options that was open, and after discovering the existence of a veggie patty, I was sold. Thanks to the sweet onion sauce and guacamole, the sandwich was quite good, and I could actually taste the slices of carrots and red peppers in my veggie patty. Despite my friend enjoying his sandwich with bacon across me, I was content with my own. I finished my meal with one of my favorite items from the C-store, a Peaches & Cream Yogurt Parfait, looking forward to meaty Monday.
Although I am not a meat-lover, having to consciously avoid meat when making meal choices made me painfully aware of what I was missing. By Thursday, there was nothing more I wanted than a good cheeseburger. My favorite meal definitely was the falafel and hummus bowl from Naf Naf Grill, which I would get again even if I were allowed to eat meat.
I was surprised to find out that there was actually a large variety of things I could eat as a vegetarian, regardless of whether I ate on campus or not. I previously thought I would end up eating a salad for every meal, but instead I was able to tag along whenever my friends decided to eat downtown. The one difference I really noticed was how I would get hungry sooner, mainly because a large portion of my meals consisted of carbs. I originally thought I might lose a few pounds, which was not the case.
I also learned that my friends could definitely be split into two groups: those who supported and ate vegetarian meals with me, and those who questioned what I was doing and laughed at my veggie patties.


(1) "A" sized drawing sheets showing the three sides and isometric views of the nosecone.
What types of jets/rockets did you look at, how did they influence your design?
What is the story of one of your artistic ideas, where did it come from or what did you try and mimic?
Please describe your rockets first flight/what is your prediction for how it fly?
What were 2 challenges you had in creating your nose cone?
Why is it important to follow the constraints? If you don't follow them, what can happen when your design is printed/flown?
What changes did you need to make to your design before/due to manufacturing (3D printing)?
Was your hypotheses about your flight correct? If not please describe how it was different.
What changes would you make to your design if you were to repeat this exercise?