text:
Alicia Jiménez
Assistant Professor of Classical Studies
Alicia is Assistant Professor at the Department of Classical Studies at Duke University. Her research engages with archaeological theory and Roman visual and material culture, specifically in the western and central Mediterranean in the period 218 BCE-200 CE. In particular, she focuses on the study of Roman expansion in the western Mediterranean, Roman colonialism, cultural change and monetization in Hispania, with a special emphasis in funerary, urban and military contexts.
Alicia is the PI of Duke's project at the Roman camps near Numantia (Renieblas, Spain, 2nd-1st c. BCE), and co-field director of the excavations since 2015. She has also carried out archaeological fieldwork at various Iron Age, Hellenistic and Roman sites in the Iberian Peninsula and Italy, as well as museum collection research at the the Römisch-Germanisches Zentralmuseum Mainz.
Prior to her arrival at Duke, she was Visiting Assistant Professor at the Department of Classics at Stanford University and Postdoctoral Fellow in Archaeology at the Joukowsky Institute for Archaeology and the Ancient World at Brown University. She earned her PhD at the Universidad Autónoma de Madrid and has conducted research in Archaeology and Anthropology at the Spanish National Research Council (CSIC, Madrid), University College London and Glasgow University.
Assistant Professor of Classical Studies, Classical Studies, Trinity College of Arts & Sciences 2014
421 Chapel Drive, Duke Box 90103, Durham, NC 27708
alicia.jimenez@duke.edu (919) 684-2998
Duke - UNC Chapel Hill Consortium for Classical and Mediterranean Archaeology
What Have the Romans Done For Us?
Antiquities, Roman
Coins, Classical
Europe (Continent)
Spain (Country)
Mapping the Roman Legions: a new 3D model of the Roman camps near Numantia (Renieblas, Spain) awarded by Gerda Henkel Foundation 2019 - 2021
Mimesis, transmission, power awarded by Columbia University 2017
The army, money and the creation of the Roman provinces in Iberia: fieldwork at the Roman camps at Renieblas, (Soria, Spain, 2nd- 1st c. BCE) awarded by Loeb Classical Library Foundation 2016 - 2017
Fellowships, Supported Research, & Other Grants
Reckoning with Race, Racism, and the History of the American South Initiative: Reckoning with the Dead: The Durham Black Burial Grounds Collaboratory awarded by Duke Office of the Provost 2021
LiDAR map and 3D Model of the Roman camps at Renieblas (Spain) awarded by Trinity College Arts and Sciences Council, Duke University 2019 - 2021
Book project: Mimesis, transmission, power. An archaeology of the double awarded by ANHIMA - Anthropologie et histoire des mondes antiques. CNRS-EHESS-EPHE-Paris 1-Paris 7 (UMR 8210), Paris, France 2018
LiDAR map: Archaeological Project at the Roman camps at Renieblas (Soria, Spain) awarded by Diputación de Soria, Spain 2018
Fieldwork at the Roman camps at Renieblas (Spain): the army and the creation of the Roman provinces awarded by Trent Foundation 2016
Geophysical Survey at the Roman camps at Renieblas (Spain) awarded by Trinity College Arts and Sciences Council, Duke University 2015
I am a member of the Editorial Board of the Journal of Roman Archaeology (Cambridge University Press)
García-Bellido, M. P., L. Callegarin, and A. Jiménez, eds. Barter, Money and Coinage in the Ancient Mediterranean. Madrid: Consejo Superior de Investigaciones Científicas, 2011.
García-Bellido, M. P., A. Mostalac, and A. Jiménez, eds. Del imperium de Pompeyo a la auctoritas de Augusto. Homenaje a Michael Grant. Madrid: Consejo Superior de Investigaciones Científicas, 2008.
Jimenez, A. Imagines Hibridae. Una aproximación postcolonialista al estudio de las necrópolis de la Bética. Vol. 43. Madrid: Consejo Superior de Investigaciones Científicas, 2008.
Jiménez, A. "Seeing in the dark: Roman imperialism and material culture." Antiquity 94, no. 378 (December 1, 2020): 1643–45. https://doi.org/10.15184/aqy.2020.177.
Jiménez, A., J. Bermejo, P. Valdés, F. Moreno, and K. Tardio. "Renewed work at the roman camps at renieblas near numantia (2nd-1st c. B.C.)." Journal of Roman Archaeology, January 1, 2020, 4–35. https://doi.org/10.1017/S1047759420000896.
Jiménez, A. "Pure hybridism: Late Iron Age sculpture in southern Iberia." World Archaeology 43, no. 1 (March 1, 2011): 102–23. https://doi.org/10.1080/00438243.2011.544903.
Full Text Open Access Copy
Jiménez Díez, Alicia. "Culto a los ancestros en época romana: los cipos funerarios de las necrópolis de <i>Baelo Claudia</i> (Bolonia, Cádiz)." Archivo Español De Arqueología 80, no. 0 (December 30, 2007): 75–106. https://doi.org/10.3989/aespa.2007.v80.28.
Jiménez, A. "Contextos funerarios en la transición del mundo prerromano al romano en el sur peninsular." Anales De Arqueología Cordobesa 17 1 (2006): 67–97.
Open Access Copy Link to Item
Jiménez, A. "La mirada pétrea: imágenes de la Gorgona en los monumentos funerarios hispanorromanos en forma de altar." Trabalhos De Antropologia E Etnologia 41, no. 1–2 (2001): 179–94.
Jiménez, Alicia. "Money and its interpretation. Archaeological and anthropological perspectives." In A Cultural History of Money in Antiquity, edited by Stefan Krmnicek, 123–40. London: Bloomsbury Publishing, 2019.
Jiménez, Alicia, Jesús Bermejo, Raquel Liceras, Fernando Moreno, and Katie Tardio. "Archaeological perspectives on the siege of Numantia: the new fieldwork project at the Roman camps at Renieblas (Spain, 2nd-1st c. BCE)." In Conflict Archaeology: Materialities of Collective Violence in Late Prehistoric and Early Historic Europe, edited by Manuel Fernández-Götz and Nico Roymans, 115–26. London and New York: Routledge, 2018.
Jiménez, A. "Las monedas halladas durante las excavaciones de A. Schulten en Renieblas." In Adolf Schulten y Numancia, edited by E. Baquedano. Museo Arqueológico Regional Comunidad de Madrid, 2017.
Jiménez, Alicia. "Standard time: typologies in Roman antiquity." In Materializing Roman Histories: Beyond Instrumentalism and Representation, edited by Astrid Van Oyen and Martin Pitts, 75–84. Oxford: Oxbow Books, 2017.
Jiménez, A. "What is a province?" In Beyond Boundaries: Connecting Visual Cultures in the Roman Provinces, edited by J. Frakes, M. Egri, and S. Alcock, 16–30. Getty Publications, 2016.
Jiménez, A. "The Western Empire and the "People without History": A Case Study from Southern Iberia." In Cultural Memories in the Roman Empire, edited by K. Galinsky and K. Lapatin, 170–90. Getty Publications, 2015.
Jiménez, Alicia, and Isabel Rodà. "Hispaniae and Narbonensis." edited by E. A. Friedland, M. G. Sobocinski, and E. K. Gazda, 487–503, 2015.
Jiménez, A. "Punic After Punic Times? The Case of the so-called 'Libyphoenician' Coins of Southern Iberia." In The Punic Mediterranean: Identities and Identification from Phoenician Settlement to Roman Rule, 219–42, 2014. https://doi.org/10.1017/CBO9781107295193.015.
Jiménez, A. "Ejército y moneda en Numancia. El campamento III de Renieblas." In La Guerre et Ses Traces. Conflits et Sociétés En Hispanie à l'époque de La Conquête Romaine (IIIe-Ier s. Av. J.-C.), edited by M. Navarro and F. Cadiou, 369–94. Bordeaux, 2014.
Jiménez, A. "Mímēsis/mimicry: teoría arqueológica, colonialismo e imitación." In El Problema de Las Imitaciones Durante La Protohistoria En El Mediterráneo Centro-Occidental: Del Concepto Al Ejemplo, edited by R. Graells, M. Krueger, S. Sardà, and G. Sciortino, 27–40. Madrid Abteilung: Mainz am Rhein: Deutsches Archäologisches Institut, 2014.
Jiménez, A. "Changing to Remain the Same. The South of the Iberian Peninsula between the Third and the First Centuries BC." In Atlantic Europe in the First Millennium BC: Crossing the Divide, edited by T. Moore and L. Armada, 506–18. Oxford: Oxford University Press, 2011. https://doi.org/10.1093/acprof:osobl/9780199567959.003.0023.
Jiménez, A. "Colonización romana y cambio social: las necrópolis de la Bética." In Un Arqueólogo Gaditano En La Villa y Corte. El Magisterio Del Profesor Manuel Bendala Galán a Través de Sus Tesis Doctorales (1986-2011), edited by J. Blánquez, L. Roldán, and D. Bernal, 335–52, 2011.
Jiménez, A. "Corduba/Colonia Patricia: the Colony that was Founded Twice." In Roman Colonies in the First Century of Their Foundation, edited by R. Sweetman, 55–74. Oxford and Oakville: Oxbow Books, 2011.
Jiménez, A. "Introduction: Colonising a Colonised Territory. Settlements with Punic Roots in Roman Times." In Colonising a Colonised Territory. Settlements with Punic Roots in Roman Times, edited by A. Jiménez, 1–3, 2010.
Jiménez, A. "Reproducing Difference: Mimesis and Colonialism in Roman Hispania." In Material Connections: Mobility, Materiality and Mediterranean Identities, edited by B. Knapp and P. van Dommelen, 38–63. London and New York: Routledge, 2010.
Jiménez, A. "Roman Settlements/Punic Ancestors: Some Examples from the Necropoleis of Southern Iberia." In Colonising a Colonised Territory: Settlements with Punic Roots in Roman Times, edited by A. Jiménez, 43–43, 2010.
Jiménez, A. "Introducción: imitación y colonialismo en el mundo antiguo," 53–57, 2009. https://doi.org/10.5944/etfii.22.2009.1730.
Jiménez, A. "A Critical Approach to the Concept of Resistance: New 'Traditional' Rituals and Objects in Funerary Contexts of Roman Baetica," 15–30. Oxford: Oxbow Books, 2008.
Jiménez, A. "La transformación de las acuñaciones hispanas en época de César." In Del Imperium de Pompeyo a La Auctoritas de Augusto, edited by M. P. García-Bellido, A. Mostalac, and A. Jiménez, 129–40. Madrid: Anejos de Archivo Español de Arqueología 47, 2008.
Jiménez, A., and I. Seco. "Altares para las almas. El coronamiento del monumento funerario de Castulo MAN 3850." In La Arqueología Clásica Peninsular Ante El Tercer Milenio, En El Centenario de A. García y Bellido (1903 – 1972), edited by Manuel Bendala, Carmen Fernández Ochoa, Rosalía Durán, and Ángel Morillo, 211–17. Madrid: Consejo Superior de Investigaciones Científicas, 2005.
Jiménez, A. "Necrópolis de época republicana en el mediodía peninsular: 'romanización' y sentimientos de identidad étnica." In Espacio y Usos Funerarios En El Occidente Romano, edited by D. Vaquerizo, 1:217–31. Córdoba: Universidad de Córdoba, 2002.
Jiménez, A. "Procesos de helenización en el mundo funerario romano republicano." In III Congreso de Arqueología Peninsular 6, edited by T. Hauschild, M. J. Maciel, V. Matas, T. Nogales, and A. Orejas, 215–31. Porto: Associação para o Desenvolvimento da Cooperação em Arqueologia Peninsular, 2000.
Jiménez, Alicia. "A synthesis of the architecture of Roman funerary monuments in the Iberian peninsula - PHILIPP KOBUSCH, DIE GRABBAUTEN IM RÖMISCHEN HISPANIEN. ZUR KULTURELLEN PRÄGUNG DER SEPULKRALARCHITEKTUR (Tübinger Archaölogische Forschungen, Bd. 14; Verlag Marie Leidorf GmbH, Rahden/Westf. 2014). S. x + 472, Abb. 179 zzgl. 74 Taf. und 17 Beilagen. ISBN 978-3-89646-994-6; ISSN 1862-3484. EUR. 64,80." Journal of Roman Archaeology 32. Cambridge University Press (CUP), 2019. https://doi.org/10.1017/s1047759419000758.
Jiménez, A. "Material Culture and Social Identities in the Ancient World: Review." Edited by S. Hales and T. Hodos. Material Culture and Social Identities in the Ancient World, January 1, 2011.
Jiménez, A. "El concepto de lo provincial: Review." El Concepto De Lo Provincial, January 1, 2008.
Jiménez, A. "Crónica del Congreso Internacional: Western Europe in the First Millennium BC: Crossing the divide: Review." Crónica Del Congreso Internacional: Western Europe in the First Millennium Bc: Crossing the Divide, January 1, 2008.
Jiménez, A. "Una arqueología crítica. Ciencia, ética y política en la construcción del pasado: Review." Una Arqueología Crítica. Ciencia, Ética Y Política En La Construcción Del Pasado, January 1, 2006.
Jiménez, A. "La Constancia: Una contribución al conocimiento de la topografía y los usos funerarios en la Colonia Patricia de los siglos iniciales del Imperio: Review." La Constancia: Una Contribución Al Conocimiento De La Topografía Y Los Usos Funerarios En La Colonia Patricia De Los Siglos Iniciales Del Imperio, January 1, 2006.
Jiménez, A. "Die Funde aus den römischen Lagern um Numantia im Römisch-Germanischen Zentralmuseum: Review." Die Funde Aus Den Römischen Lagern Um Numantia Im Römisch Germanischen Zentralmuseum, January 1, 2002.
Dalla Riva, M., ed. "Colonising a Colonised Territory: Settlements with Punic Roots in Roman Times. Session editor: A. Jiménez. In Meetings between Cultures in the Ancient Mediterranean. Proceedings of the 17th International Congress of Classical Archaeology, Rome 22-26 Sept. 2008." Congresso di Archaeologia A.I.A.C., 2010.
ARTHIST 520S: Roman Provincial Archaeology: The West 2023
CLST 144: Principles of Archaeology 2023
CLST 547S: Roman Provincial Archaeology: The West 2023
ARTHIST 89S: First-Year Seminar 2022
ARTHIST 334: Roman Spectacle 2022
CLST 89S: First-Year Seminar 2022
CLST 354: Roman Spectacle 2022
CLST 748S: Archaeology Seminar II (Topics) 2022
CULANTH 89S: First-Year Seminar 2022
RELIGION 89S: First-Year Seminar 2022
VMS 334: Roman Spectacle 2022
CLST 480S: Capstone Seminars in Classical Studies 2021


Facebook has 845 million users, and allows us to share photos, statuses, and updates on our life with hundreds of friends and family members. However, with all this accessibility, there is also a tendency for some of us to go overboard.
Your day is important, there is no denying that. However, none of your friends appreciate seeing your statuses pop-up every time you do something. Between seeing you wake up, take a shower, get stuck in traffic, see a weird cloud in sky, and all the times you successfully went to the bathroom, you have lost everyone's interest.
We all love knowing what is going on with your life, but there is always a line. Whether you just broke up with your significant other, or your roommates didn't invite you when they went out for fro-yo last night, putting your personal rants on Facebook is just not appropriate. This also includes the cryptic messages that make your friends ask you what is wrong, and if you are okay.
No one wants to know how trashed you were last night, or what awful things your frat brothers did to your face. You had fun, and your friends are all thrilled, but not thrilled enough to know about how you streaked naked at that killer party you were at last night, and that you are not sure where your left shoe is.
We have all seen these, and some of us are definitely guilty of this. The photos of you flexing, striking a pose, or shirtless are just strange and unnatural, and they should not happen. It makes your friends feel a bit awkward just seeing them, and can you blame them?
Chain likes are the new version of those creepy chain emails and texts where if you get 10 likes, then something good will happen to you. Ex. "Like" this to save this child, or "Like" if you love Jesus." Just like we learned with the chain emails, nothing is going to happen. Unlike our emails, which are private, these posts are there for all your viewers to see. Don't be a victim of chain liking.


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text:
Night Journey, poem by Theodore Roethke with photograph by Corky Lee
Posted bypoetryandplaces4 January 28, 2021 Posted intrains, USATags:China, Chinese, geography, history, photographers, photography, poems, poetry, poets, trains, transportation, Travel, Utah
Night Journey
by Theodore Roethke
Now as the train bears west,
Its rhythm rocks the earth,
And from my Pullman berth
I stare into the night
While others take their rest.
Bridges of iron lace,
A suddenness of trees,
A lap of mountain mist
All cross my line of sight,
Then a bleak wasted place,
And a lake below my knees.
Full on my neck I feel
The straining at a curve;
My muscles move with steel,
I wake in every nerve.
I watch a beacon swing
From dark to blazing bright;
We thunder through ravines
And gullies washed with light.
Beyond the mountain pass
Mist deepens on the pane;
We rush into a rain
That rattles double glass.
Wheels shake the roadbed stone,
The pistons jerk and shove,
I stay up half the night
To see the land I love.
PHOTO: In 2014, on the 145th anniversary of the transcontinental railroad's completion at Promontory Summit, Utah, photographer Corky Lee invited descendants of Chinese workers to recreate the 1869 photo taken without their ancestors who helped build the railroad. Photo (c) Corky Lee, All Rights Reserved, used by permission.
NOTE: Between 1863 and 1869, as many as 20,000 Chinese workers helped build the treacherous western portion of the Transcontinental Railroad that began in Sacramento, California. When not enough white men signed up, the railroad began hiring Chinese men for the backbreaking labor. Chinese workers blasted tunnels through mountains, cut through dense forests, filled deep ravines, constructed long trestles, and built enormous retaining walls. Chinese workers were paid 30-50% less than their white counterparts and were given the most dangerous work. As they approached the meeting point with the Union Pacific at Promontory Summit, Utah, thousands of Chinese workers laid down 10 miles of track in less than 24 hours. Progress came at great cost: Chinese civic organizations retrieved an estimated 1,200 bodies along the route and sent them to China for burial. The transcontinental railroad's completion allowed travelers to journey across the country in a week—a trip that had previously taken more than a month. Politicians pointed to the country's great achievement, failing to mention the foreign-born workers who had made it possible. Source: "Remember the Chinese immigrants who built America's first transcontinental railroad" by Gordon H. Chang, professor of history, Stanford University, Los Angeles Times, May 10, 2019.
PHOTO: Chinese workers toil in a treacherous stretch of the Transcontinental Railroad in California's Sierra Nevada Mountains, late 1860s. (Source: National Park Service.)
NOTE ON PHOTO: This photo depicts the ceremony on May 10, 1969 for installing the golden spike at Promontory Summit, Utah, representing the completion of the First U.S. Transcontinental Railroad. At center left, Samuel S. Montague, Central Pacific Railroad, shakes hands with Grenville M. Dodge, Union Pacific Railroad (center right). They are surrounded by men who built the railway—but Chinese workers were not included in the celebration.
Photo: Andrew J. Russell, Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut, used by permission.)
PHOTO: Plaque at Promontory Summit, Utah, placed in 1969 to commemorate the centennial of the U.S. Transcontinental Railroad and to honor "the Chinese workers of the Central Pacific Railroad whose indomitable courage made it possible."
ABOUT THE AUTHOR: Theodore Roethke (1908-1963) is regarded as among the most accomplished and influential poets of his generation. Roethke's work is characterized by its introspection, rhythm, and natural imagery. He was awarded the Pulitzer Prize for poetry in 1954 for his book, The Waking, and he won the annual National Book Award for Poetry twice, in 1959 for Words for the Wind and posthumously in 1965 for The Far Field. In the November 1968 edition of the Atlantic Monthly, former U.S. Poet Laureate and author James Dickey wrote Roethke was: "…in my opinion the greatest poet this country has yet produced." In 2005, Library of America published Theodore Roethke: Selected Poems.
ABOUT THE PHOTOGRAPHER: Young Kwok "Corky" Lee (1947 – January 27, 2021) was a renowned photographer whose work chronicled Asian American culture. Born and raised in Queens, New York, Lee was a second-generation Chinese American who taught himself photography with borrowed cameras because he was unable to afford his own. His work was inspired by the 1869 photo he saw in his school textbook showing the completion of the transcontinental railroad at Promontory Summit, Utah, with Chinese workers noticeably absent from the photograph. Lee addressed this injustice 145 years later, when he photographed descendants of Chinese railroad workers at the same site. Known as the "undisputed unofficial Asian American Photographer Laureate," his photographs documented the daily lives of Asian-Americans as well as moments in American history. In an interview in AsianWeek, he commented: "I'd like to think that every time I take my camera out of my bag, it's like drawing a sword to combat indifference, injustice and discrimination, trying to get rid of stereotypes." His work, which has been described as "only a small attempt to rectify omissions in our history text books," has appeared in Time magazine, The New York Times, The Village Voice, Associated Press, The Villager, and Downtown Express, as well as exhibitions throughout the United States. Corky Lee died on January 27, 2021, at age 73 of complications from COVID-19. Read more about Corky Lee's life and work at cnn.com.
Walls by Shelly Blankman
Theatre of the Bay by Roger Patulny

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Online reports say Microsoft will start selling Project Natal, an Xbox accessory that senses motion, in October. The new technology would make it possible for people to play video games on the Xbox by moving their bodies, without a handheld controller.
A Saudi Arabia television news station interviewed a marketing manager for Xbox who said Natal would come out in October, which was picked up by video game blog Gamertag and CNET's Digital Home blog.
Microsoft had previously said they would start selling Natal by the end of this year.


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Mazatlan is located on the Pacific coast at the southernmost tip of the Baja California Peninsula. Mazatlan is the second largest city in the state of Sinaloa, Mexico. It is a popular tourist destination with hotels along the beaches and a car ferry service across the Gulf of California to La Paz.


text:
Q: Why no apostrophe in the possessive "it"? Why, when you are talking about something belonging to "it" does "it" not get an apostrophe before the "s"? For example, "The dog ate its food" - the food belongs to "it". Shouldn't there be an apostrophe, like if you were to say "the dog ate the dog's food"?

A: It's purely conventional.
In linguistics, writing systems are usually considered a separate thing from the language itself—they tend to be deliberately constructed and taught, and can be deliberately modified much more easily than the language can. Centuries of concerted effort haven't dissuaded English-speakers from using "ain't" or singular "they", but a single person's choices in the 1930s gave us "analog" and "catalog" alongside the -ue versions.
In other words, it's pretty easy for spelling to change for pretty much any reason, and it was even easier in the past before the proliferation of dictionaries and spellcheckers. Someone decided that it would be useful to differentiate "its" and "it's" by the apostrophe, and it caught on; since "it's" is an actual contraction (a sound has been removed), it kept the apostrophe, and the other one lost it.

A: English differentiates contracted forms such as it's, he's, she's, I'm etc.
from the possessive pronouns: its, his, hers, its, ours, theirs, yours and the outlier mine.

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Bad Girl alums Tanisha Thomas, Jelaminah Lanier, Camilla Poindexter, Jasmine Carter and Jonica Booth introduce the 8 new sisters to the season. The 8 new bad girls come into the house.
An investigative journalist strives to determine whether the priest who performed an exorcism on a mentally ill nun in fact murdered her, or if he actually lost the battle with a demonic presence.
While opening a bakery to make a living , Deok-kyu LIM has agreed to participate in a reality television show. And he accidentally meet his old friend.Many attractive situations will happen with them.
Set in Long Beach, California, the series centers on a young male ex-surfer, who joins a local fraternal group, Lodge 49, after his father's death.
In the second season of MacGyver, an American television series, MacGyver is no ordinary secret agent and he uses the most dangerous weapon of all to fights for justice. That is his intelligence.
The distinctive group of Vancouver detectives, teaming up with the Coroner's office, have to track down the evidence which will lead them to discovering the criminals & their motive.


I've been feeling the same way. I sold 80% of our stock last month, and I couldn't feel better. I feel like we're at the top of a total stock market bubble, mostly as a result of the Fed buying assets at a disgusting rate for so long.
The party is going to stop when either (a) the Fed stops printing money or (b) we finally feel the pain that an artificially built economy gives us from stimulus.
Is it too late to add another goal for 2008?


Fr. Wilbur Ellsworth is the priest at Holy Transfiguration Antiochian Orthodox Church in Warrenville, IL. After over 30 years of pastoral experience in large evangelical churches, Fr. Wilbur embraced the Orthodox Faith and now faithfully lives and serves near Wheaton, IL - the home of Wheaton College and many evangelical ministries.


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Utah reports 2,408 new COVID-19 cases, 8 deaths on Saturday
Medical assistants Gema Ortega and Jamie Jensen prepare saliva tests as the staff with the University of Utah Health Wellness Bus test for COVID-19 at the Utah State Fairpark in Salt Lake City on Tuesday, Dec. 15, 2020. | Jeffrey D. Allred, Deseret News
SALT LAKE CITY — Utah health officials reported another 2,408 COVID-19 cases and eight deaths on Saturday.
The new cases were confirmed out of 10,101 people tested, with a 24% positive rate, according to the Utah Department of Health. The rolling seven-day average for positive tests is 2,454 per day, and the average for percent of positive laboratory tests is 22.1%.
On Saturday, 559 patients were hospitalized with COVID-19 in Utah, which is 20 more than were hospitalized the previous day.
A total of 23,400 vaccines have been shipped to Utah as of Saturday, health officials said. State data shows at least 3,648 vaccines have been administered — but more health care workers have actually been vaccinated as that data is lagging, health officials said.
Hospital leaders at Intermountain Healthcare and University of Utah Health on Friday reported they have given the first vaccine doses to about 5,000 workers collectively.
The deaths reported Saturday bring the state's toll to 1,148. They included five Salt Lake County residents — one man and two women between 65 and 84, and one man and one woman between 45 and 64. All five were hospitalized when they died.
A Davis County woman between 45 and 64 died while hospitalized; and a Utah County man older than 85 and a Box Elder man between 65 and 85 both died without hospitalization.
To date, 248,970 cases have been confirmed in Utah out of 1,633,896 people tested. Hospitalizations since the outbreak began now total 9,968.
This story will be updated.
Ashley Imlay


This entry was posted in Family History and tagged Benjamin West, Elizabeth Davis, family history, George Soule, Joseph West, Susanna Soule West, William West.
Hello. We are related through George Soule, Susannah Soule, William West and Jane Tanner line. I am intrigued with the story of William West's removal fromWesterly RI. Do you know anything further? There are many intermarriages in this line with descendants of other Mayflower passengers. My gggrandparents were William Benjamin West and Isaphena Burdick, whose daughter Isaphena (Nettie) Genette West married Willard DeLure Burdick, my grandfather's parents. I am looking for some specific links in the West family and wonder if we might correspond privately. Our family has a memoir written by William Benjamin West.
I would be happy to share information on the Susanna Soule/West family that I have.


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Chapter 16 - Canaanites Are Defeated - Page 1 of 6 (series: Lessons on Judges)
Canaanites Are Defeated Judges 4:12–24
12 And they shewed Sisera that Barak the son of Abinoam was gone up to mount Tabor.
13 And Sisera gathered together all his chariots, even nine hundred chariots of iron, and all the people that were with him, from Harosheth of the Gentiles unto the river of Kishon.
14 And Deborah said unto Barak, Up; for this is the day in which the LORD hath delivered Sisera into thine hand: is not the LORD gone out before thee? So Barak went down from mount Tabor, and ten thousand men after him.
15 And the LORD discomfited Sisera, and all his chariots, and all his host, with the edge of the sword before Barak; so that Sisera lighted down off his chariot, and fled away on his feet.
16 But Barak pursued after the chariots, and after the host, unto Harosheth of the Gentiles: and all the host of Sisera fell upon the edge of the sword; and there was not a man left.
17 Howbeit Sisera fled away on his feet to the tent of Jael the wife of Heber the Kenite: for there was peace between Jabin the king of Hazor and the house of Heber the Kenite.
18 And Jael went out to meet Sisera, and said unto him, Turn in, my lord, turn in to me; fear not. And when he had turned in unto her into the tent, she covered him with a mantle.
19 And he said unto her, Give me, I pray thee, a little water to drink; for I am thirsty. And she opened a bottle of milk, and gave him drink, and covered him.
20 Again he said unto her, Stand in the door of the tent, and it shall be, when any man doth come and enquire of thee, and say, Is there any man here? that thou shalt say, No.
21 Then Jael Heber's wife took a nail of the tent, and took an hammer in her hand, and went softly unto him, and smote the nail into his temples, and fastened it into the ground: for he was fast asleep and weary. So he died.
22 And, behold, as Barak pursued Sisera, Jael came out to meet him, and said unto him, Come, and I will shew thee the man whom thou seekest. And when he came into her tent, behold, Sisera lay dead, and the nail was in his temples.
23 So God subdued on that day Jabin the king of Canaan before the children of Israel.
24 And the hand of the children of Israel prospered, and prevailed against Jabin the king of Canaan, until they had destroyed Jabin king of Canaan.
The society of that day was strongly masculine, so it was humiliating when women had leadership in the land 1(Isa. 3:12). The pages of church history record the names of godly women like Deborah who knew God's will, rallied God's people, and won God's victories; and we are grateful for them. In 2Hebrews 11:32 , Barak is named as a man of faith, but Deborah enlisted him and saved the day. What a strange victory! God used two women, a jug of milk, a hammer, a tent peg, and a storm to defeat the enemy! One person's faith and obedience can make a difference in history. Whether you are a leader like Deborah or a follower like Barak, be sure to be a believer; because faith makes the difference between defeat and victory.
Accompanied by Deborah, Barak now returned to Kadesh, where he summoned the chiefs of Naphtali and Zebulon. Battle plans are made and the Jewish combatants converged in small companies, from all roads and directions, "on foot," towards the battlefield. About six or eight miles east of Nazareth abruptly rises a beautifully-shaped conical mountain, about 1,000 feet high. This is Mount Tabor, its sloping sides covered with trees, and presenting from its summit one of the most beautiful views in Palestine. Here the army under Barak and Deborah gathered.
News of their whereabouts soon reached the head-quarters of Sisera (His intelligence system would have reported this.). His chariots could, of course, only have the advantage when the fight was in the valleys, and he naturally marched north-west to the plain of Jezreel or Esdraelon. This has always been, and will prove to be the site of the final contest—"And he gathered them together into a place called in the Hebrew tongue Armageddon" (Revelation 16:16), the great battle-field of Israel. This fight will be the first of many times that its fertile soil was to be watered with the blood of men. The conflict has been foretold in various passages in the Old and New Testament 3(Ps 2:1–3 ), but now the geographical location is added. The more popular name is Armageddon (the Greek noun has a rough-breathing equivalent to the letter H). Megiddo is a well-known common noun for "mountain." The word comes from a verb, meaning "to slaughter". The site was the great battleground of the Old Testament. It was the place of the victory of Deborah and Barak 4(Jud. 5:19 ); Josiah met his death before Pharaoh Nechoh in the Valley of Megiddo 5(II Chr 35:22–24 ). It will suffice to state that Megiddo is the mountain overlooking the Valley of Esdraelon (Gr for Jezreel), the great plain in the northern part of Palestine. Napoleon I is credited with having said of Megiddo: "What an excellent place into which all the armies of the world could be maneuvered."
Sisera had chosen his position with excellent skill. Marching in almost a straight line upon the plain of Megiddo, his army was now posted at its entrance, resting in the ancient Canaanish town of Taanach 4(Judges 5:19, comp. 6Joshua 12:21 ). Behind, and at his left flank, were the mountains of Manasseh, before him opened the basin of the valley, merging into the Plain of Esdraelon, watered by the Kishon. Into this plain Barak's army must descend "on foot, and" badly armed, without experienced officers, without cavalry or chariots—and here his own 900 war-chariots would operate to the best advantage. It was not even like one of those battles in which mountaineers hold their own stronghold, or swoop down on their enemies in narrow valleys. On the contrary, everything seemed to be working against Israel—except for this, that God had previously promised to draw Sisera and his army to the river Kishon, and to deliver them into Barak's hand. Then once more the Lord appears as "a man of war," and fights on the side of His people. It is said: "And Jehovah discomfited," or rather, "threw into confusion, Sisera and all his chariots, and all his soldiers." The expression is the same as when Jehovah fought against Egypt 7(Exodus 14:25 ), and again when before Gibeon Joshua bade the sun and the moon to stand still 8(Joshua 10:10 ). It indicates the direct interference of the Lord through terrible natural phenomena; (also compare its use in 92 Samuel 22:15 ; 10Psalm 18:14 ; 11144:6 ). As we gather from 12Judges 5:20-22 , a fearful storm swept down from heaven in the face of the advancing army. The battle must have drawn towards Endor, where its fate was finally decided 13(Psalm 83:9, 10 ). Presently the war-chariots were thrown into confusion, and instead of being a help became a source of danger. The frightened horses conveyed destruction into the ranks of the Canaanite host. Soon, they were involved in a common panic. A scene of wild confusion ensued. It was impossible to retreat, and only in one direction could flight be attempted. And now the waters of Kishon had swollen into a wild torrent which swept away the fugitives!
To escape capture, Sisera leaped from his chariot, and fled on foot northwards towards Hazor. Already he had passed beyond Kadesh, and had almost reached safety. There the boundary of Naphtali was marked by what was known as "the oakwood at the twin tents of wandering" (Joshua 19:33). Here Heber the Kenite had pitched his tent, having separated from his brethren, who had settled in the extreme south at Arad 14(Judges 1:16 ). Living close to the boundary of Jabin's dominion, and not being in actuality Israelites, the clan of Heber had been left unmolested and "there was peace between Jabin, king of Hazor, and the house of Heber the Kenite."
Only outward, not real peace! There is something wild and weird about the appearance of these Kenites on the stage of Jewish history. Originally an Arab tribe they retain to the last the fierceness of their race. Although they lived among the tribes of Israel, they never seem to integrate with Israel, and yet they are more keenly Israeli than any of the chosen race.


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2009 Emmys: Outstanding Main Title Design Nominees
Posted July 23, 2009 by Justin Cone
Here are the nominees for a 2009 Emmy award in Outstanding Main Title Design.
True Blood (HBO)
Rama Allen, Designer; Shawn Fedorchuk, Editor; Matthew Mulder, Creative Director; Morgan Henry, Main Title Producer; Camm Rowland, Designer; Ryan Gagnier, Designer
Making of and case study on Digital Kitchen's site
Taking Chance (HBO)
Michael Riley, Title Designer; Dru Nget, Title Designer; Dan Meehan, Animator; Bob Swensen, Main Title Producer
United States Of Tara (Showtime)
Jamie Caliri, Director/Director of Photography/Editor/Main Digital Compositor; Dave Finkel, Creator; Brett Baer, Creator
Q&A with Jamie Caliri on The Art of the Title Sequence
Storymakers (AMC)
James Spindler, Creative Director; Mike Wasilewski, Designer; Ahmet Ahmet, Art Director; Grant Lau, Art Director
Interview with the creators on AMC's blog
Lie To Me (FOX) – Video not available
Robert Bradley, Title Designer; Thomas Cobb, Title Designer
You can watch full episodes of Lie to Me on Hulu.com (in the United States).
See the official Emmy site for more details.
Tags: title sequence
Justin Cone
/ justincone.com
Together with Carlos El Asmar, Justin co-founded Motionographer, F5 and The Motion Awards. He currently lives in Austin, Texas with is wife, son and fluffball of a dog. Before taking on Motionographer full-time, Justin worked in various capacities at Psyop, NBC-Universal, Apple, Adobe and SCAD.
More by Justin >
invertebrae July 23rd, 2009
it's me again, mr. complainer. this time i want to bring up a sore point. as a designer and director myself, i don't live for awards but it is a compliment to receive one. especially for those who work on titles like these and get nominated (and win) emmy's.
at digital kitchen (many already know) my alma mater, they have racked up as many emmy's as anyone for their excellent title designs. and as a reward, the team invovled in working on the nominated titles get to come with the company to the award show, where there is a good chance their titles will win.
where am i going with this? well you might also know that i had some beef with how the TRUE BLOOD titles went down. serious homage going on there on the point of (what i felt was) plagiaristic behavior. but the complaint i had didn't stop there. it has to do with giving credit where credit is due.
when THE COMPANY was nominated for best titles a few years back, the designer of the boards that won the job was flown out to hollywood. even though he had quit dk and started a job at shilo in nyc. mind you, the end result of the titles didn't really resemble his boards in any way, it was a great gesture on the part of dk to bring him out.
fast forward to 2009, and here we are with a controversial main titles sequence which will likely win (mostly because the most acclaimed shows tend to win, regardless of the title designs, imo). another close friend of mine, who was heavily involved in pitching, boarding, and winning these titles for dk, has been snubbed from the project on a couple of levels.
1. he designed boards for the show, which helped win the job. PROOF: http://www.liftingfaces.com/uploads/true_blood.jpg (frames which ended up in the final piece include: nudes in the dark, moth, swamp shot, fox shot, dancing in bar, poolhall), and…
2. he also worked with ryan g. a credited nominee and dk staffer, on the polaroid treatment. from what i remember, this was my friend's concept. PROOF: http://www
3. all of that said, my friend had a bit of beef with a few staffers at dk, which led to a less than awesome relationship. since leaving as a freelancer, my friend was asked kindly to not show the titles on his personal website, something dk has allowed most other freelancers to do. they have also told him not to show it period. both of which my friend agreed to, even though he felt it was inappropriate and a bit of a bummer.
4. while remaining credited as "designer" on the dk site. come emmy nomination time his name is nowhere to be found. why? you'll have to ask dk yourself. but pretty shitty in my mind. no flight to LA for doing a good job, no mention or whisper of a credit on the nomination sheet. these are things that reward us for our hard work, that partly make us feel it was worth the grueling effort put forth.
now, i'm not saying my friend was the only creative mind behind this job. the crew had a plan to go down south and find some weird shit, some weird people, shoot as much as they could, and edit something sweet together. another staffer worked on a convincing rip-o-matic which sourced many different pre-existing pieces of film to help win the job as well.
however, when the founder of the company says my friend's contributions were "too limited to be justified in showing on your own site," one has to look back at THE COMPANY, and wonder how that logic works by proxy.
anyhow, congrats to the nominees.
Panasit July 24th, 2009
At first I was just going to leave a simple "yay! I hope DK wins" and then go off to look at websites with inappropriate contents. But your post interests me. Firstly, thank you for the inside information. I always love reading behind the scene stories.
After reading it quite thoroughly several times (I wanted to make sure there is no misunderstanding on my part) I feel that your main point is: Digital Kitchen treated your friend differently than they did with the guy who worked on the main title for "The Company". And you don't know WHY.
Well the answer to that WHY is most likely this BEEF your friend had with the staffers. At least that's what I gathered from your message. So I am asking now, what were they arguing about?
"It's private" is not acceptable because this whole "not crediting your friend" thing is also a private matter, which was brought up anyway and, whether intentionally or not, put Digital Kitchen in a very bad light. It makes no sense to respect your friend's privacy but violate Digital Kitchen's.
You can claim that it doesn't matter. The guy could have been a serial killer, a credit should goes to whoever it is due. Not necessary. Especially since this beef could have been work related. And it did occurred at around the time True Blood title sequence was in production right? Until we know what it was.. which could have been argument over a parking space… we can't be hundred percent sure.
I am not taking side with Digital Kitchen, it's just that I learned pretty early in life not to jump on a bandwagon to bring down a heroic figure within an industry.
Your friend did contribute a lot to the work as far as I'm concern. He set up the concept and mood and tone. So much so that it would appear no matter how bad this BEEF was, not crediting him was ever going to be justified.
Still, it is a missing part of the story.
My opinion is that Digital Kitchen did not handled this very well. As the party that decided to keep things under wrap, they are more likely to look guilty. But then without knowing the whole story, they could have been trying to protect your friend as much as they were trying to protect themselves.
I once worked on a project with a person that slack off, lied about being sick, and in the end even tried to sabotage our works. Despite finding out about this person's true nature, due to time limit, his very small contribution still made it onto the final rendering. I credited this person anyway, even though this person betrayed us and only drew the head of a main character (not torso, not even the eyes), and I did the concept, the art direction, character designs, and me and two other guys did background and other character animation. But I credit this person because just because I don't want there to be any problem… problem like this. But I didn't feel like I had to do it. And I definitely would not feel like a bad person if I want to take this person's name off the project, even though his design of main character's head pretty much float around throughout the entire music video.
invertebrae July 25th, 2009
@panasit:
i'm not sure there were any major "incidents" that created the discord between my friend and his coworkers. he's definitely his own personality, and maybe some thing it can be polarizing. i like him a lot, and think he's very talented. he's a hard worker, and stays up all hours of the night to get a job done, and his contributions to this job was no exception.
i think it was just a personality conflict more than anything. he didn't sabotage any jobs, didn't sleep with the creative director's girlfriend (i don't think!), so yeah, i think just different people not jiving.
still doesn't excuse the omission in my opinion. i think it's just an ego thing, and using this as a way to "get even" perhaps? not sure, again, you have to ask the ones responsible.
another (dk) friend DID inform me that the Emmy's used to have a four credit limit, and that in large part thanks to dk, they increased the number to six. that would explain the non-crediting i guess, but still doesn't excuse not letting my friend show the project on his own site, assuming the proper credits are given.
ikaria July 23rd, 2009
I've yet to work on a project where credits give the true picture of artists contributions. If anything, they are more indicative of the power structures within the organization. More often than not, the people responsible for the bulk of the work get listed several rows below those that hand out the paychecks.
That being said, I must counter your assessment of the boarding artist's contribution to the COMPANY titles. As someone who worked on the project and was among the nominees, I believe that his boards define the very look, feel and style of the piece. The artist's inclusion in the nominee list was consulted with other artists involved. The fact that he was no longer at DK at the time only validates the worth of his contribution as companies will rarely go to such lengths to give credit where credit is due.
– Igor
ceevee July 24th, 2009
Has anyone else seen the amazing documentary "Searching For The Wrong Eyed Jesus"? is one of my favorites and i highly recommend anyone to watch it; shot like the most beautiful music video, narrators are wonderful and what a great soundtrack. The film is inspiring.
Unfortunately it looks like the people at DK got a biiiiiiit too inspired.
Having watched the documentary a few times, there are scenes in the True Blood open that are lifted directly from Searching For The Wrong Eyed Jesus.
If they win this or any award…i could care less. But something i do care about is the lack of ethics that most studios show. ..
Bran Dougherty-Johnson July 24th, 2009
Why don't we all try to adopt a modern, standardized credit system for our industry? It's very important for everyone's careers and their reputation that proper credit is given, and that noone tries to claim more ownership for any project than is right.
This was alluded to in the interview that Justin did with AICP Digital, and it should be something we all push for. More and more studios are now putting credits for specific jobs on their sites (and sometimes in PR), which is definitely a step in the right direction.
I'd personally like to see a system used everywhere that also links to personal sites: for staff, freelancers and external companies. Fair is fair, no?
oeuf July 24th, 2009
This all went down when the True Blood titles came out. Ryan partially linked it in his post, but here's the rest: http://www.liftingfaces.com/2008/09/the-wrong-eyed-concept/
Read the article and don't skip the comments, looks like DK came in to give their side of the story. The rest, well, is up to you.
And another note to these emmy noms, does anyone know the process, because alot of times, credit is not given to the people that worked on the pieces. If memory serves correct, last year it looked like the only place to credit everyone involved was for The Company. I could be wrong though. I think The Company should have won, but instead Madmen did, and in my opinion, only did because it was the "happening" series. Even then, I was extremely surprised at who was credited at being involved in that project. Was a quite a shame.
Justin Cone July 24th, 2009
"I think The Company should have won, but instead Madmen did, and in my opinion, only did because it was the "happening" series."
This, I think, plays a bigger role than the Emmys are probably willing to admit.
I think Mad Men title deserved to win more than The Company's main title.
The Company's title sequence was definitely well executed with great transition, while Mad Men's, from technical stand point, look very unpolished and more lazy than minimalistic. However I think the concept is where it was decided.
Just look at the use of symbolism: The Company's title's symbolism is way too literal and blatant compared to those found in Mad Men's title, which are more subtle and leaves room to many interpretation.
The stylized homage to hitchcock could have just been random imagery but because of the nature of the show, there's a feeling by everyone that there's more to it than that.
It's like a very well written beautiful verse fighting against a mediocre Poem. Of course the Poem is still going to win.
I have to ask. Where's Fringe opening?
I know United States Of Tara and True Blood is the top contender and Fringe's title can't beat them. But I think it looks better than Taking Chance's title.
Is this another one of those "anything SciFi don't get nominated for awards" thing again? I hope not. Yeah, it's very brief and cartoony, and the words get repeated, but something about it makes me want to watch it over and over, some time more than ten times, consecutively. I hope I'm not the only one.
juicy juniper September 1st, 2009
Mad Men stands alone.


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Date Added: 06/09/2018 by J***o P.


Why did Mickelson miss his record 62 putt?
The quality of play created through the competition between Mickelson and Stenson was presented by Sky as The Open championship's saviour as a "televised" event.
The other big story, Mickelson's missed record 62 putt is only explained by FineGolf.
The scene needs setting first as there were two primary weaknesses to the Sky Open Championship commentary.
Firstly, they repeatedly talked down the weather. Butch Harmon called the wind 'brutal' at a time when it was only around 15mph. Others even suggested the players would prefer not to be out on the links. Where does this need for 'hype' come from? Golfers who follow The Open are generally well educated on the fun of difficult links conditions.
The weather was certainly not 'nice' for July, being both rainy and cold, while at times giving the perfect wind of between 15 and 25mph and from different directions that ensures The Open Championship offers the proper challenge requiring inventiveness, imagination and creativity in 'running-golf' shot-making that makes it the finest and greatest tournament in the world.
Secondly, the commentary team's ignorance of agronomy and greenkeeping undermines their ability to develop interesting stories around how the pros need to play.
They completely missed the glaringly obvious comparison between the agronomy at the back-to-back Scottish Open and The Open Championship. I can only suppose because they did not understand it.
The week before at Castle Stuart, the weather of the first day of the Scottish Open was perfect. 25mph prevailing wind with full sun, lighting up the hauntingly beautiful Black Isle. Even GMac, who had been somewhat rude about the Castle Stuart lay-out previously, had to eat his own words and admit that it was a fine championship venue.
This might have had something to do with the fact that the agronomy at Castle Stuart is undoubtedly the finest in GB&I. The greens, run-offs, fairways and rough are all 100% red fescue grasses that are deep rooted, requiring low inputs of water and fertiliser and little pesticide and give firm surfaces.
As a consequence the course gives the truest putting roll-out to the ball and though many longer putts were missed through difficult reading of the interesting greens, I hardly saw a short putt missed across the four days, as I watched the Sky coverage almost continuously from the Media Centre on site.
These fescues were cut at the normal cutting height of 4.5 mm which gave a speed reading of 11 feet for the Pro-am on the Wednesday. It was predicted the wind would get up for Thursday so the cutting height was lifted to 6mm on Wednesday night and the greens were not cut at all on Thursday or Friday morning to help hold any oscillating balls from moving on the greens while still giving a speed of 10ft 2inch. The greens were then cut at 4.5mm again Friday evening, giving a Saturday speed of between 10ft 5inch to 10ft 7inch. On the relatively calm Sunday the greens were rolled with the hand mower on some greens and a squeegee used on others to guarantee the correct speed which was all around 10ft 5inch.
This speed was requested by the European Tour who wanted to avoid delays with the pros taking too long to putt out on fast 11 foot + greens. (See article on Fast Greens = Slow Play).
So, how did Castle Stuart's surfaces compare with Royal Troon whose greens are annual meadow grass (Poa annua) mixed with browntop bent grasses?
In 2013 the greens at Royal Troon were cut normally at 3.5mm and at 3mm for special occasions. I am now told during the 2016 Open Championship the greens were single cut with a pedestrian mower each morning of the Championship to a height of 4 mm except Saturday when no greens were mown due to a forecast of high winds.
Green speed was 9 ft 10 inch on Thursday and Friday, 9 ft 5 inch on Saturday and 9 ft 8 inch on Sunday.
Pure Poa greens are normally cut at below 3mm and sometimes down to 1.75mm. This helps take out the Poa seed heads and creates exceptionally high putting speeds and a smoothness of putt that is more difficult to attain at 4mm.
Browntop bent, which like fescue is a deep-rooting perrenial grass, does not like to be cut lower than 3mm, whereas fescue prefers to be cut over 4mm.
So, why did the ball suddenly move sideways when only a foot from the hole when Mickelson thought he had achieved a world record 62 in the first round at Troon?
It can't have been a piece of detritus that deflected the ball as Mickelson would have removed it. Let us also note that McIlroy missed a number of short putts as did others.
FineGolf believes that it is possible that the Poa grass that continues to grow through the day and is more affected by shoe spikes, made the putting surfaces less consistent, something we know to expect with weed grasses.
This why the late and brilliant Nick Park invented the 'Greenstester' which when used with The R&A's 'Holing-out-Test' gives 'running-golf' course greenkeepers an objective measurement of the reliability of their greens as they 'sustainably' evolve them from weed to fine grasses.
There are many complimentary aspects as to how Royal Troon was set-up. The run-offs for example were spectacularly good. But space beckons and so I have only focused on one story that the Sky commentators completely missed while there were also so many other aspects of why sustainable 'running-golf' is so much more enjoyable than chemical based 'target-golf'. It would give further interesting back-drop discussions to watching these pros play on the televised 'Running-Golf-Tour' of the Irish Open, Scottish Open, The Open Championship and the Alfred Dunhill, that are incompetently ignored.
Faldo and McGinley are generally impressive in their commentary (they both love links 'running-golf') and David Livingstone pulls it together quite well. But it is crying out for some professional agronomist/greenkeeper consultant to interpret the dichotomy between weed and fine grass and its effect on the golfer's play.


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"[An] excellent show that is part of this new communications environment in which people can be offered a way to reflect rather than to react." Prof. Manuel Castells on Hearsay Culture.
Welcome to the website dedicated to the KZSU-FM (Stanford University) radio interview show and podcast Hearsay Culture, hosted by Dave Levine, an Associate Professor of Law at Elon University School of Law and a Non-Residential Fellow at the Center for Internet and Society (CIS) at Stanford Law School. In sum, each 50-55 minute show is designed to cover modern technology/Internet issues, but not from a purely law or geek perspective. From the KZSU-FM schedule description: "An interview talk show that focuses on the intersection of technology and society. How is our world impacted by the great technological changes taking place? Each week, a different sphere is explored."
The name "Hearsay Culture" derives from the notion that technology — particularly the Internet — requires that humans filter information and decide how much weight is given to it. In United States law, "hearsay evidence" is generally defined as "a statement made out of court and not under oath and offered in evidence as proof that what is stated is true." In that way, we live in a "hearsay culture" — the massive amount of information that people who interact with technology confront must be filtered with the consideration that it, too, might be hearsay.
Since its founding in May 2006, Hearsay Culture has received very favorable (and unsolicited) reviews on blogs and technology websites including ZDNet ("Some of the best discussion I've heard to date (and certainly recently) about the economics of intellectual property in the technological era . . ."), Concurring Opinions (listing the show as one of the author's six favorite podcasts of 2007), and Technology Liberation Front's Tim Lee (reviewing interview with Prof. Richard Epstein, and author noting that it is "one of [his] favorite podcasts"). More recently, Lee commented that the show is "probably the geekiest radio show in the history of the world," which is viewed (at Hearsay Culture) as high praise!
Moreover, in December 2008, Hearsay Culture was listed in the American Bar Association ("ABA") Journal's Blawg 100 of 2008, as one of the "top 100 best Web sites by lawyers, for lawyers." Specifically, Hearsay Culture was selected by the editors as one of the top five in the new podcast category. Hearsay Culture was also listed as one of 10 podcasts that are "essential for legal professionals" in an October 10, 2008 article by Robert J. Ambrogi of Law Technology News entitled "Ten Legal Podcasts to Keep You Informed."
Despite its apparent appeal to geeks and IP nerds, the show is aimed at a broad audience. It is important to emphasize that although the host is an IP, entertainment and cyberlaw attorney by training, and the guests are immersed and leaders in the topics discussed, the goal is to engage in dialogue that can be interesting and accessible to those with a wide range of interest and knowledge. As explained by KZSU-FM's Program Director in one article, the show illuminates "technology law issues for non-nerdy non-lawyers." While many would consider the host a nerd of sorts, and certainly a lawyer, it is hoped that both technologists and technophobes, lawyers and non-lawyers, academics and practitioners, might find the discussion illuminating.
Additionally, the show is a conversation. While the host generally asks questions and the guest answers, there is no script and the conversation can naturally develop as topics and responses warrant. To that end, there is no post-production editing of the conversation; what the listener hears is akin to sitting in on the discussion as it happened.
KZSU-FM, Stanford University's non-profit, non-commercial radio station has afforded the opportunity to create "Hearsay Culture." You can learn more about the station here and find its program schedule here. The show airs by KZSU-FM live stream (or, if you are in the San Francisco Bay area, on 90.1 FM) from 5 to 6 PM PST on Wednesdays, and is available afterwards on this website, on the CIS website and by iTunes podcast. Note also that the KZSU-FM radio version of the show always includes music and is usually recorded, but occasionally is a live on-air interview.
This show could not be created without the support of several people. First, thanks to my colleagues at Stanford's Center for Internet and Society (CIS), who have supported this idea from the beginning (and all whom have or will be guests!) Of course, everyone at KZSU-FM, especially the General Manager, Program Director and Chief Engineer, have been invaluable. Thanks also to the information technology staff at Stanford Law School for their hard work and expert assistance. Of course, the guests deserve my thanks, without whom there would be no show. Lastly, thanks to my wonderful wife Heidi, who bears with scheduling and always offers helpful comments and suggestions.
There could be more writing here, but, given that you've likely read this far, it may be better at this point to ask you to listen to a show or two. From this website, you can check the upcoming schedule of guests, download and listen to audio of previous shows, and, in the blog, find links to issues and ideas discussed on previous shows. Thanks for checking in, and I hope that you enjoy what you hear and see!
If you'd like to contact the host, please e-mail Dave at dave@hearsayculture.com.


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Ira Stehmann
0 items €
Jean Shrimpton, 1971
Born in 1938 in London; lives in London.
Influential portrait and fashion photographer, and chronicler of the "swinging sixties". Defined the style of the '60s working for Vogue, Elle, Glamour, and The Sunday Times, among others.
Important publications in the '60s:
David Bailey's Box of Pin-Ups (1965)
Goodbye Baby and Amen: A Saraband for the Sixties (1969)
First solo exhibition at the National Portrait Gallery, London (1971)
David Bailey is an English fashion photographer best known for his images of celebrities, models, and musicians, many of which appeared in Vogue magazine. He is also commonly associated with his photography book NWI (1982), which documented the process of gentrification in the London neighborhoods of Primrose Hill and Camden. Born on January 2, 1938 in London, United Kingdom, Bailey dropped out of high school to serve in the Royal Air Force where he developed an interest in photography. Over the course of the 1960s and 70s, the artist gained attention from the press after a string of high-profile marriages to Jean Shrimpton, Catherine Deneuve, and Marie Helvin. In 1964, he published his first photography book Box of Pin-Ups, which was a collection of black-and-white images depicting a number of figures from popular culture, including Mick Jagger, the Beatles, Twiggy, and Andy Warhol. In 2001, he was awarded a Commander of the Order of the British Empire from Queen Elizabeth II and in 2016 he was awarded the Lifetime Achievement award from the International Center of Photography in New York. Today, his work is held in the collections of the National Portrait Gallery in London and the Victoria & Albert Museum in London among others. Bailey lives and works in London, UK.
Pure Sixties Pure Bailey, Bonhams, London
Sculptures, Pangolin Gallery, London
Now and Then, Hamiltons Gallery, London
Beatles to Bowie, National Portrait Gallery, London
Galeria Hilario Galguera, Mexiko
Faggionato Fine Arts, London
14 Stations of the Cross joint with Damien Hirst, Gagosian Gallery, London
National Galleries of Scotland, Edinburgh
Moderna Museet, Stockholm, Sweden, 2000
City Art Museum, Helsinki, Finnland, 2000
Birth of the Cool 1957–1969, Barbican Art Gallery, London
A Gallery for Fine Photography, New Orleans, 1998
Galerie CameraWork, Berlin
Galerie Carla Sozzani, Milano
Fahey Klein Gallery, Los Angeles, 1990
Bailey Now! Royal Photographic Society, Bath
Hamiltons Gallery, London
Shots of Style, Victoria & Albert Museum, London
Pictures of Sudan for Brand Aid, The Institute for Contemporary Arts, London
International Center of Photography, New York
Retrospective, Victoria & Albert
National Portrait Gallery, London
Copyright © 2021 Ira Stehmann


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Laurence "Laurie" Sivell (ur. 8 lutego 1951 w Lowestoft) – angielski piłkarz grający na pozycji bramkarza. Wieloletni gracz Ipswich Town.

Kariera piłkarska
Laurie Sivell karierę piłkarską rozpoczął w 1969 roku w Ipswich Town, w którym występował do 1984 roku. Jednak w czasie pobytu w klubie nie zdołał wywalczyć miejsca w pierwszym składzie zespołu, gdyż w tym okresie rozegrał zaledwie 141 meczów ligowych (był dublerem najpierw Davida Besta, potem Paula Coopera), co jednak nie przeszkodziło mu w zdobyciu cennych osiągnięć: dwukrotne wicemistrzostwo Anglii (1981, 1982), Puchar Anglii (1978) oraz Puchar UEFA (1981).

Oprócz Ipswich Town grał w 1979 roku w ramach wypożyczenia w Lincoln City oraz w Beccles Town, gdzie zakończył piłkarską karierę.

Sukcesy

Ipswich Town
 Wicemistrz Anglii: 1981, 1982
 Puchar Anglii: 1978
 Puchar UEFA: 1981

Film
Laurie Sivell w 1981 roku zagrał wraz z niektórymi kolegami z Ipswich Town i gwiazdami piłki nożnej m.in. Pelé i Kazimierzem Deyną w amerykańskiej produkcji – Ucieczka do zwycięstwa, wcielając się w rolę Schmidta, bramkarza reprezentacji Niemiec.

Przypisy

Linki zewnętrzne

 Profil na NewcastleFans.com

Urodzeni w 1951
Angielscy piłkarze
Piłkarze Ipswich Town F.C.
Piłkarze Lincoln City F.C.

redpajama_set_name: RedPajamaWikipedia


Socializing is important to us here at Micons. Our whole family is involved in this process, including our kids. It's important that puppies are around sounds, lights, activity and even the cat likes to join in and play! Here is a picture of Mike and Tabby's son, Cale with puppy in training "Dolly."
Typically dogs stay with us for at least one month (30 days).
We do offer some special requests for training. Pricing may vary based on time and specific requests.
Any puppy purchased from us that goes into training will be given parvo shots, wormings and food at no extra charge.
*All puppies go home 7-8 weeks after they are born.
* Deposits are $400 and non-refundable if we have a puppy available for you. Your spot in line on the list is determined by the order in which deposits are received in order to be fair.
*All dogs are sold on a first come, first serve basis and at our discretion. We reserve the right to refuse to sell our dogs to just anyone.


Nazarene Bible College (NBC) is pleased to collaborate with all four territories of the Salvation Army in the U.S.A. to help further Salvation Army's Christ-centered mission. NBC, through its AdVantage Accelerated Degree Completion Program offers the Bachelor of Arts in Ministry degree with a major in Leadership and Ethics. Majors in Bible and Theology, Christian School Education, Counseling for Christian Ministries, and Hispanic Pastoral Ministries are also available.
Learn more about the Leadership and Ethics, Bible and Theology, Christian School Education, Counseling for Christian Ministries, and Hispanic Pastoral Ministries Programs.


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Q: Error al intentar leer WSGI handler en IIS con DJANGO Etoy levantando una aplicación de Django con IIS en Windows 10; sin embargo me muestra el siguiente error.
Me guié con el siguiente video: https://www.youtube.com/watch?v=cgTFrAwXeoI
Error occurred while reading WSGI handler: Traceback (most recent call last):
File "C:\inetpub\wwwroot\aplicacion\wfastcgi.py", line 711, in main env,
handler = read_wsgi_handler(response.physical_path) File "C:\inetpub\wwwroot\aplicacion\wfastcgi.py", line 568, in read_wsgi_handler return env, get_wsgi_handler(handler_name) File "C:\inetpub\wwwroot\aplicacion\wfastcgi.py", line 551, in get_wsgi_handler raise ValueError('"%s" could not be imported' % handler_name) ValueError:"django.core.wsgi.get_wsgi_application()" could not be imported StdOut: StdErr:


Home prices took off in 2012 and went on a tear in 2013. And while the double-digit growth has slowed somewhat, prices are still heading higher.
In February, prices rose 4.2% from the year prior, according to the S&P/Case-Shiller U.S. National Home Index.
And some local markets are on fire, with bidding wars and offers above asking price becoming common. In San Francisco, 74% of homes listed earlier this year, sold within two months of hitting the market, a recent Trulia report showed. The median asking price of the City by the Bay was $1,099,000. Several other areas in California, along with Seattle and Salt Lake City are experiencing similar real estate booms, the report found.
Home prices in Denver and Dallas have exceeded the levels hit during the housing boom, according to S&P/Case-Shiller.
If prices continue to outpace inflation and income in these areas, that can eventually become a problem.
Homeowners aren't selling: Current homeowners list their home to either trade up or downsize, opening up inventory for first-time buyers to come in. One can't happen without the other.
"The whole train has to move at the same time," said Gumbinger.
But current homeowners aren't flooding the market with "For Sale" signs. Some are worried they won't be able to find a new house or they're still waiting to recoup their home's value lost in the crash.
"Homeowners who would be considering selling could still be underwater or still in too low of an equity position," said Gumbinger.
Builders aren't building: Builders have been cautious during the recovery, since they need to know homeowners will upgrade to the houses they build, said Crowe.
According to Crowe, a normal housing market has 1.6 million new single and multi-family homes built annually. Last year, the market hit a million, but single-family homes made up just 700,000, when it's typically a little more than a million.
Lenders still aren't lending: Strict lending practices have made it harder for buyers to secure a mortgage since the bubble burst in 2008. And while banks have loosened up a little recently, lending is still significantly tighter than it was before the housing crash.
Tight inventory and rising prices can be potential warning signs of a bubble forming, but experts say it's too early to tell.
"It's not obvious yet," said economist Robert Shiller, who helped create the S&P/Case-Shiller Home Price Index, on a potential bubble.
If there is one, it's a different type of bubble than the one in 2008. While supply and demand helped inflate that bubble, the demand was enhanced by loose mortgage lending practices that sometimes pushed buyers to take out loans they couldn't afford.
"That bubble was fostered by a finance-related push," explained Gumbinger.


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Erik Zimen (1941-2003) was a Swedish behavioral scientist. He specialized in the behaviour of wolves and dogs, carrying out his research in Bavarian forests and the Parco Nazionale d'Abruzzo, Lazio e Molise, Italy. He is best known for his book The Wolf.

Zimen's research included a study of poodle-wolf mixes, called "puwos."

References

Swedish scientists
1941 births
2003 deaths


DALLAS—The law firm Kane Russell Coleman Logan is growing in the new year. The firm has welcomed one new hire in the past month in the Dallas office – Jordan Sibley. The addition of Sibley and two attorneys in Houston will allow the firm to further bolster both its transactional and litigation services and continue to offer comprehensive representation for its clients in 2019.
Jordan Sibley will work as a Senior Attorney in the Dallas office of Kane Russell Coleman Logan. In this role, he will continue to advise clients on mergers and acquisitions, commercial finance transactions, real estate transactions and corporate governance. In addition to his years of experience serving as a trusted advisor to companies in the finance, automotive, real estate, oil and gas and technology industries, Jordan also holds an advanced law degree in Corporate Transactions from The University of Alabama School of Law. This high degree of experience, education and business background equip him to serve as general counsel to businesses, funds and family offices in all growth stages, providing impactful legal advice for their investments and complex matters.
"When growing our KRCL team, we prioritize finding attorneys who are hardworking, successful, and always put our clients first. We look for excellent lawyers who are even better people. Jordan has proven time and time again that he fits these criteria. He's a fantastic addition to our firm and will serve as a great asset to our clients," said Joseph Coleman, Managing Partner and Co-Founder of the firm.


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Redbridge Museum
Gallery, Museum
Moving Stories Meet some of the people who have lived and worked in Redbridge between 1940 and today
The March of Bricks and Mortar Discover how Redbridge grew from a number of villages to a modern suburb between 1900 and 1939
Rural Redbridge Find out what life was like in the local area in the 1800s
Time Zone Explore over 150,000 years of local history through interactive displays
Since opening in 2000, we have worked with hundreds of local people, produced more than 70 exhibitions and displays, attracted more than 200,000 visitors, held over 600 family activities, and taught 33,518 school pupils.
Redbridge Central Library	Clements Road	lford	Redbridge
redbridgefirstworldwar.org.uk
tate.org.uk/britain
Tate holds the national collection of British art from 1500 to the present day and international modern and contemporary art. Read More
North Somerset Arts Week
http://www.northsomersetarts.org/
This biennial event sees the mix of North Somerset's creative talent taking centre stage in North Somerset Arts Week. Read More
Church House Designs
http://www.churchhousedesigns.co.uk
Church House Designs in Congresbury was established 1986 and has a reputation for high quality and imaginative work. There is… Read More
Writers' Museum
http://www.edinburghmuseums.org.uk/Venues/The-Writers--Museum.aspx
Travelling Gallery
http://www.edinburghmuseums.org.uk/Venues/Travelling-Gallery.aspx
http://www.edinburghmuseums.org.uk/Venues/Museum-of-Childhood.aspx
Museum of Edinburgh
http://www.edinburghmuseums.org.uk/Venues/Museum-of-Edinburgh.aspx


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Cat show in Taylor is purrfect family-friendly weekend outing
Caroline Blackmon
Cats sleep away 70 percent of their lives.
But you can be sure all Michigan felines will be wide awake – well, at least half awake –for the Cat Fanciers Association cat show this weekend in Taylor.
The Motor City Jazz Club and the Midwest Persian Tabby Fanciers organizations are hosting the annual cat show, which lasts from 9 a.m. to 4 p.m. on Saturday and Sunday. Ten judges from across the country come to Taylor to officiate at one of the largest cat shows in Michigan.
Though the new feline mayor of Omena, Michigan, can't make an appearance, you can be sure the best of the Midwest will wow the crowd this weekend.
In the meantime, here are some things you might not know about this Michigan cat show.
Cats are 'naked' at this show
To preserve the sanctity of each cat, the competitors are usually not allowed to wear costumes.
"He does his shows nude," Pam Johnston said of her cat, Poco. "You don't bring costumes to cat shows."
But outside of shows, that doesn't stop Johnston from dressing Poco up every chance she gets.
Some are professionals. Others are amateurs.
Some cats, like John Romeo Coons Winslow, a Maine Coon, have been around the block and take the shows very seriously. His owners, John and Susan Rzyczycki of Ohio, are cat breeders that show him all over the nation.
Others, like Majmanes Poco Taz Beauregards Karma, compete just for the fun of it.
"We're hobby showers, so to speak," Johnston said.
The cats' names are attention-grabbers
Most of the cats have fanciful names to intimidate the competition. However, behind closed doors, they're just as approachable as any furry friend.
So, while Majmanes Poco Taz Beauregards Karma turns on the charm at cat shows, to his owners, he is simply Poco, a cat they fell in love with after their 23-year-old cat died.
And John Romeo Coons Winslow is better known as Mr. Winslow. But he still commands attention as he recently won two national awards, including the third best Maine Coon breed in the nation.
Several different levels and breeds
The cats are usually separated based on age and whether they will breed or not. At the show this weekend, the participants will be separated into four categories: kittens, championship (cats who will breed), premiership (cats who are spayed or neutered) and household pets.
Household pets is a newer category that's becoming more popular.
"It's really nice seeing kitty cats that are just beloved pets," Susan Rzyczycki said. "They usually tell a very nice story of how the kitty came into their lives and that's very sweet."
Ask permission before petting models
Most cat owners are more than happy to answer questions from any spectators at cat shows. Valerie Smith, a member of the Cat Fanciers Association, just reminds people to ask permission before petting.
"Many of the exhibitors love to have their cats seen and talk about them," she said. "They're usually willing to answer questions and everyone is pretty welcoming. They just need to know to ask before they touch a cat."
More on Freep.com:
Michigan village elects cat named Sweet Tart for mayor
Things to do in metro Detroit for the week of July 22 and beyond
The show will be at the Taylor Sportsplex, 13333 Telegraph. Tickets are $6 for adults, $5 for seniors, $4 for kids and free for children under six years old.
If you'd like to get more involved in the show when you go, you can view the spectator guide put together by the association.