text:
When Looking at Me, What Do You See? Interacting with Murals
Author: Kelly L. Graham
Blankenburg Elementary School
Seminar: American Literature and American Painting, 1840 to 1940
Keywords: Art, asian art and culture, murals, Science, Visual Art
School Subject(s): Arts, Visual Art
When Looking at Me, What Do You See?: Interacting with Murals is a visual arts curriculum unit that teaches students to engage with public artworks and murals in their neighborhood. Over the course of the two month unit, students will practice looking at, thinking about, and exchanging ideas about local art. As students interact with the murals in their community, they will expand their understanding of the elements and principles of design, such as line, shape, texture, color, balance, repetition, and contrast. The unit culminates with a group project that gives students the opportunity to collaborate and create a class mural to display in their school. Though this unit is primarily focused on visual art, students spend a large percentage of class time developing their speaking and listening skills. When Looking at Me, What Do You See?: Interacting with Murals was designed for kindergarten students in the regular classroom setting. However, the lessons could easily be adapted for higher grade levels or small group settings. Additionally, depending on the subject matter of the murals visited and created, this unit could span subjects, incorporating history or science, for example, with just a little extra planning.
Download Unit: Graham-Kelly-unit.pdf
When Looking at Me, What do you See?: Teaching Children about Murals is a curriculum unit that takes students out of their school building and onto the sidewalks. Their neighborhood becomes their classroom. Philadelphia is world renowned for its thousands of community murals. Capitalizing on this rich resource, the main objectives of this unit are to teach students to look at, think about, and talk about the murals in their city. These murals are daily passed by while children walk with their families, play in the alleys, or ride on the trolley. This is art in their immediate environment. Budget cuts and standardized testing mandates often have the adverse side effect of reducing students' exposure to art education. The aim of this curriculum unit is to ameliorate, in some small way, lack of student exposure to art making and art criticism.
This unit has been designed for use with a regular kindergarten class of approximately twenty-seven students of mixed ability and experience over a two-moth time span. However, the lessons could easily be used with students up to grade three or could be adapted and made more challenging for use with even older students. It is also feasible that by using science, mathematics, literacy, or social studies as a lens through which to view and construct murals, these lessons could be developed into cross-curricular units of study. Children, especially five and six year olds, are quizzical and curious. They are like sponges, soaking up everything around them, noticing every detail, and asking questions, questions, and more questions. When Looking at Me, What do you See?: Teaching Children about Murals capitalizes on children's proclivity for asking questions. It channels that penchant for questioning into art criticism. One of the goals of this unit is to teach students not only to ask, "What did the artist paint on the wall?" and "Why did she choose those colors and textures?" but also "How does that mural make me feel?" and "What do I like or dislike about it?"
Human beings have forever been engaged in mark making. From early cave paintings to contemporary mural arts, people have felt a compulsion to tell their story and tell it big.
Murals have served many purposes: documenting history, glorifying political regimes, illuminating injustice, symbolizing hopes and aspirations, and, at times, being just simply beautiful. Many children enter school still in the scribbling stage. Their crayon gliding across the surface of the paper makes bold marks that attest to their existence. The first recognizable symbol that often emerges is a person. "Me," They are seeming to say, "Here I am." As a culminating project for this unit, students will contribute their own images to a class mural to display either in their school or in their neighborhood. They will use line, color, pattern, and imagery to make their marks and contribute to the dialogue of Philadelphia's mural arts.
A good story holds the power to conjure an image or spark a memory. It sucks readers in and takes them on a fantastic journey. Kindergarten students go on read-aloud "trips" every day. It is often the one time during the day that a teacher can rely on having every child's captivated, undivided attention. Art holds the same power. It can inspire and provoke. Just as students need to be taught techniques for comprehending storybooks, they need to be educated in the ways of interacting with artworks. The main reason for writing and teaching this curriculum unit is to help children use art as a springboard for storytelling, self-esteem building, and hope summoning.
If one is lucky, a solitary fantasy can totally transform one million realities.
-Maya Angelou (American Poet)1
This quote illuminates the appeal of the Mural Arts Program (MAP) to Philadelphia's populace. Do cascading waterfalls belong in abandoned lots? Should pastoral harvest scenes hover on corner store walls? Could multicultural scenes of peace and harmony exist without defacement in racially tense neighborhoods? Jane Golden, executive director of MAP and Philadelphia's residents who live in the shade of these murals would answer with a resounding "Yes." In these examples and in a multiplicity of other ways, murals fulfill people's need for beauty and reprieve from the permeation of urban decay.
Caused by a host of socio-economic conditions, urban decay affects many neighborhoods in Philadelphia. Living among such corrosion and collapse has a damaging effect on the visions, thoughts, and health of a blighted community's inhabitants. Many children in such environments are educated in schools that may also be void of art adornment and an art education program. In the current standardized test-driven atmosphere, funds and space for talking about and making art seem to disappear. As recently as 2006, forty-four percent of schools in the School District of Philadelphia lacked a full time music teacher. Forty-one percent lacked a full time art teacher. More than one in five schools had neither an art nor a music teacher.2 These percentages reveal that art education is not a top priority in many of Philadelphia's classrooms.
Blankenburg Elementary School, for example, has not had an art teacher on staff for a number of years. It is up to the individual classroom teacher to determine if and when to expose her students to art. Even if a teacher wants to incorporate art into the curriculum,
it can be difficult to find rich artwork to critique with students. It can also be difficult to procure supplies so that students can practice making artwork themselves. Fortunately in Philadelphia, there is an ample source of artwork free to all passersby. To date, MAP has created over 2,800 murals across the city. When Looking at Me, What do you See?: Teaching Children about Murals aims to help teachers tap into that resource and engage students with the murals around them.
Positive public interventions like MAP work with community groups and schools to create focal points of inspiration, hope, and beauty on neighborhood buildings and walls. This unit will purposefully expose children to the murals in their community and take them on extraordinary "see-aloud." It will teach them to look at and respond to those murals from the platform of individual experience.
Mural on Second Avenue
By Lilian Moore
stood here
tall on a ladder,
to the slap of a
wet brush,
on the blank
unwidowed wall of
this old house.
Now the wall is a
field of wild grass,
bending to a wind.
A unicron's grazing there
beside a zebra.
A giraffe is nibbling a
and in a sky of
eye-blinking
A horse is flying.
right at home in the
Moore, Lilian. Mural on Second Avenue, and Other City Poems. Cambridge: Candlewick Press, 2004
So how do Philadelphia's murals fit into the larger context of mural marking in the United States and beyond American borders? The history of mural making is woven with the cultural identity, human experience, and political ideals of the people who commission, create, and respond to them. Every mural, like any work of art, can reveal something of the time and people who created it. Unlike canvas paintings, which can be transported from gallery space to gallery space with relative ease, murals are permanent. Well, to a great degree. Like real estate ventures, success is often about location, location, location. For unless there is active local interest in preserving a mural, paint begins to fade and chip away – a process quite like natural selection.
Many historians locate the roots of contemporary community mural projects, like Philadelphia's MAP, within the Mexican muralism movement of the 1920's. At this time The Mexican government commenced a national mural program. The mission of the program was to revive and unite the Mexican people and to educate them about the revolution of 1910. Muralists of this era, most famously Diego Rivera Jose Clemente Orozco, and David Alfaro Siqueiros, referred to as Los Tres Grandes or The Big Three, were awarded free thematic and stylistic license. Their subject matter included the indigenous people of Mexico, the impact of the Spanish conquest, the socio-political environment of the country, and upward visions of hope. They worked in public spaces where their work would be accessible to all people, regardless of race or class.4
The most natural, purest, and strongest form of painting is the mural. It is also the most generous . . . it is for the people.
-Jose' Clemente Orozco (Mexican Muralist)5
Following in the footsteps of the Mexican government's mural program was the American government's Federal Arts Project. The Federal Arts Project was part of the Works Project Administration (1935-1943). This considerable arts initiative was a parcel of Franklin Delano Roosevelt's New Deal, aimed to rescue the collapsed economy. During this time, the Federal Arts Project commissioned roughly twenty-five hundred murals throughout the United States. Just Mexican muralism had birthed renowned artists, the Depression-era murals produced in America drew recognition and attention to the names of Thomas Hart Benton, Sid Larson, Reginald Marsh, and Ben Shan.6
American history and mythology, the American landscape, and the lives and struggles of the American working class were often the subjects of these murals that were painted in post offices, hospitals, libraries, prisons, and schools. The American muralists embrace of realistic subject matter signaled a rejection of European Modernism (Cezanne, Picasso, and Braque), which in comparison to the realism of the Depression-era murals seemed hollow and aloof. Nodding to the nationalism of the Hudson River style landscape painters of the 1830's, the government sponsored muralists ushered in a new style called Regionalism or American Scene painting. Artists like Benton saw the swath of muralism as recording an American society that was vibrant, struggling, and everchanging.7
However, it should be noted that during that era, the majority of murals depicting historical themes were generally commissioned for public institutions and at that time, African Americans had very little official authority over such public spaces. Telling the story of the African American experience, especially from the perspective of African Americans, was not a top priority of the Federal Arts Project. Though the eminent American muralists of the 1930's and 1940's may have emulated the Mexican muralists at times in terms of style and subject matter, their murals were not always accessible to all. Historically black colleges, universities and similar institutions served a dual role as both commissioner of and venue for history paintings from an African American perspective.8 Iconic African American muralists of this time period include
Aaron Douglas, Charles Alston, Hale Woodruff, Charles White, and a bit later John Biggers. These mural artists celebrated the strength and spirit of historical black heroes.
Influenced by the Mexican muralists, they illuminated those who advanced the struggle for freedom and equality, often in the face of seemingly insurmountable odds.
Prior to the 1960's, murals were created for the public (ideally), but the public was not necessarily part of the mural making process. The 1960's and 1970's saw the dawn of an age when the public became an essential part of the process. Mural artists of the time created a model for making community murals that involved the community in all parts of the project. From identifying a location, to determining the subject matter, to securing materials, even to feeding the artists and providing them with protection and conversation, community members were invested in every way.9
In 1967, the Wall of Respect, a mural depicting African American heroes, was painted in Chicago by a collaborative group of artists. It is often cited as the first commanding example of contemporary American muralism, the aim of which is to "reclaim the visual field in the urban environment."10 William Walker, a notable Chicago muralist of the time and one of the founders of the Organization of Black American Culture (OBAC), is often named in starting the Wall of Respect. Twenty-three African-American artists made a list of black heroes who might be depicted in the mural. Community members gave their input, local businesses donated paint, and the Wall of Respect developed into a collage of images that shifted and was modified over time until it was destroyed in 1971 due to lack of upkeep and a fire.
Prior to the Wall of Respect, iconic African American artists like Aaron Douglas and John Biggers had executed most of their commissioned works on interior walls. These pieces were not necessarily accessible to everyone, as they were housed in institutions that regulate admission and visitation. In contrast, Wall of Respect was executed on the exterior of a neighborhood building without official approval or sponsorship. It was painted by a collaborative of community supported artists. As a form of truly public art, it served as a rebuttal to the imagery of those in power. It celebrated black leaders, poets, musicians and artists. It brought untold stories to the fore to be celebrated and used to inspire pride, dignity, and hope in Chicago's neglected South Side neighborhood. The Wall of Respect succeeded in creating art that was immediately accessible to the black community living in the surrounding vicinity. Because of this, Chicago gained national recognition as a site where such murals were taking off.
Cities around the nation followed suit as people saw the potential these powerful public images had to spark both admiration and debate. Mural artists in Los Angeles, New York, Santa Fe, and Philadelphia painted work in concert with community members and organizers to depict their particular challenges: drugs, racial discrimination, police brutality, and absentee landlords. They also used the murals to portray their heroes, hopes, and strengths: beloved leaders, cultural ambassadors, and neighborhood champions. In 1973 the Department of Urban Outreach, also called the Department of Community Programs, was newly founded at the Philadelphia Museum of Art. Roughly one hundred thirty murals were painted in the city at this time. Chief mural artists Don Kaiser and Clarence Wood were devoted to involving community members in specifying subject matter for the murals. They considered themselves to be facilitators for the
community mural making process, and claimed no authorship over the murals they painted. 11 Some of the mural subjects chosen by community members included Malcolm X and Aretha Franklin.
Simultaneously, community murals were being painted on the other side of the nation. In Los Angeles, Judith Francisca Baca was heading the Social and Public Art Resource Center. The West Coast, California mural movement of the 1970's acclaimed Judith Francisca Baca as the "Mother of American Muralism".12 She too placed importance on locating murals in neighborhoods and understood the necessity of involving local residents in the fullness of the mural process. Baca gave Golden her beginning in painting public murals. Golden was living in Los Angeles in 1976 and received her first mural commission from the Social and Public Art Resource Center. Through working with Baca, Golden's talents for mural painting, organization, administration, and involving the community were strengthened. In 1984, Jane Golden moved to Philadelphia and began working as the director of the newly established Philadelphia Anti-Graffiti Network. She sought out graffiti artists who were defacing and tagging the city. Regardless of any negative past experiences as graffitists, Philadelphia's Anti-Graffiti Network offered young people an outlet for their mostly frustrated energies. It was an outlet for positive change. Art classes, creative opportunities, and steady pay were helping young people transform their lives. By 1990 there were more than 500 graffiti artists on the waiting list for the program. Since the inception of MAP's art education centered programs, more than twenty-five thousand youth have participated in its programs and mural painting projects.13
The 1980's witnessed a shift from grassroots organization and production of community murals to the institutionalization of neighborhood mural projects. Larger city and nationally funded groups were able to provide more financial and administrational assistance and absorbed many small community mural projects. Both a blessing and a curse, this had the effect of bolstering the mural movement while simultaneously removing it from its grassroots origins. Timothy Drescher is an independent mural historian and photographer hailing from Berkley, California. He has been studying, archiving, and advocating for the conservation of America's community murals for more than thirty years. Drescher maintains that during the 1980's, the best programs remained woven into the fabric of the neighborhoods they serviced because they retained community involvement as an integral component of the mural making process.14 Jane Golden has always kept this understanding in the forefront of her vision for Philadelphia's mural arts movement.
The Philadelphia Mural Arts Program has flourished over the past twenty-six years. What is the underlying pedagogy of MAP today? Strikingly, it remains unchanged. The focus of MAP is not on adornment and beautification. These are simply an added bonus. The focus continues to be the positive dialogue that surrounds the process of mural making and the uplifting effects such dialogue has on the community. This is the core of Golden's program. Surrounding each vibrant mural is a halo of unseen beauty. Beauty that is produced by bringing together a group of people who may have otherwise not shared a common vision. Philadelphia muralism is more about process and
communication than about ornamentation. It is about exchanging collective thoughts, hopes and dreams over time. MAP's repertoire is broadening. Activities falling under the umbrella of the Mural Arts Program include art education, community mural making, criminal prevention, rehabilitation, and public engagement. As MAP expands, the stakeholders in this shared investment grow to include educators, students, municipal employees, elected officials, taxpayers, community service workers, funding organizations, even incarcerated offenders, and victims of crime.15 The murals woven through the city somehow touch every Philadelphian. Not claiming to be a social panacea, MPA strives to improve the quality of life for the broad spectrum of residents in Philadelphia through its dynamic, humanistic approach to mural making projects. The most successful murals are not one dimensional in substance or symbolism. The most effective murals resonate with their creators and their viewers on many layers. If a mural sparks a multiplicity of responses, meaning different things to different people, it has a vitality that extends its edges.
Golden's challenge is to maximize MAP's impact and realize how fully public art can influence a neighborhood. She is devoted to collaborating with communities and public organizations like the Department of Human Services and the Philadelphia School District to maximize the impact murals have as educational tools.
Urban spaces shift. Demographics are in constant flux. Golden's constant concern is maintaining the integrity of a neighborhood while simultaneously making it more artistically special. It is apparent that murals play a vital role in preserving the identity and history of a neighborhood. They are like mirrors. Golden holds murals up as a form of public art that are at once stunning, enchanting, and augment the growth of Philadelphia as a city.16
When we make art for public spaces, we define ourselves: this is what we think is worth remembering, this is what we believe. The driving forces of Philadelphia muralism are human concerns and our murals commemorate human history, understanding, and interaction. An effective mural reminds us of what we share. It reminds us on several levels; beautifully, eloquently, and in a way that makes the city a more welcoming place.
-Jane Golden (Executive Director of the Mural Arts Program)17
The main objective of When Looking at Me, What do you See?: Teaching Kindergartners to Interact With Murals is for students to understand murals as sources for making meaning. Much like what happens during a read-aloud, when students look at murals in this unit they will practice relating what they see to their own experience. Students will be asked to answer questions, such as "What is the artist showing me?" and "What does this mural mean to me?" Murals are made through a collaborative process in which an artist works in concert with a community to create a public artwork. What can be learned about one's self and one's neighborhood by studying the murals that adorn
public spaces? This is the overarching question that will be examined throughout the unit.
There are multiple auxiliary objectives that will be met through the lessons in this unit: to visit nearby murals, to spot the title of a mural and the artists who designed it, to identify elements of design in a mural (use of patterns, colors, textures, etc), to describe the content of a mural, to relate what is seen to a personal experience, and to participate in discussions that compare and contrast multiple interpretations.
Throughout this unit, as student visit murals in their neighborhood, they will learn about public art and the mural making process. They will gain knowledge of artist's purpose and the importance of having a say in the design of one's physical environment. Students will connect what they know about understanding author's purpose and making text-to-self connections from read-alouds in the classroom to the practice of interacting with murals in the community. Comparing and contrasting both subject matter and aesthetic components of a variety of murals will deepen students' understanding of murals as sources for making meaning. As students interact with murals, they will use these public artworks to focus their thoughts and discussions about who they are as people and what the murals mean to them. Here murals become the objects that focus student discussions. Just as muralists add layers of paint to build up the richness of an image, students will be adding multiple layers of meaning to their schemas for understanding murals as much more than large beautiful pictures.
As a final objective, students will create their own large artwork that tells a personal story and share it publicly. Throughout the unit, students interact with murals that the community has created in the past. At the end of the unit, students will engage with the rich history of muralism and mark their place in the present. Each child will create a large painting that illustrated something they would like others to know about them. They will then collaborate, displaying all of their paintings publicly as one large mural. By designing a piece of a larger collective mural, students will see how their own unique story is a part of a larger one that can be shared with one another and with the larger school community. The mural that they create becomes an artifact that marks their place in time and tells their unique story.
This is a unit that can easily integrate multiple areas of the curriculum. Social Studies, Art, Math and Literacy are all embedded within each lesson. Discussions of the historical context of murals and the practice of studying each mural's surrounding community fall under the umbrella of Social Studies. Analyzing and critiquing murals and designing a unique contemporary mural are Art endeavors. Identifying patterns and shapes sharpen
Math skills. Engaging in lively discussions and critical thinking exercises is a central component of the Literacy curriculum. A list of the specific standards addressed by the objectives of this unit has been included as an appendix.
This unit will employ a range of teaching strategies to help students successfully achieve the objectives of the unit. Some of the activities designed to help them interact with artwork include: whole-group discussions of artworks in class using images in books and posters, "turn-and–talk" or paired exchange of ideas and thoughts about particular artworks, visits to neighborhood murals, developing questions about the artist's methods and intentions, whole-group letter writing to the mural artist, experimenting with a variety of art materials (paint, pastels, pencils, and computer software like TuxPaint), and designing a large drawing or painting to share with classmates and exhibit publicly as a group mural.
When Looking at Me, What do you See?: Teaching Kindergartners to Interact With Murals " is designed for implementation in a regular education kindergarten classroom. Class size is expected to be twenty-five to thirty students between the ages of five
and seven. The lessons for this unit were developed with that particular audience in mind, however the strategies used in the lessons could easily be adapted or made more complex for working with older children or smaller groups of students. The format for the majority of the lessons is a whole group discussion or activity followed by a small group or independent activity. The unit consists of three lessons, which will be taught over the course of two months, preferably toward the end of the school year when the weather is more agreeable. The lessons are long and kindergartners' attention spans are not. For this reason, each lesson may be broken up in to manageable chunks and taught over the span of several days.
Real murals and images of murals are critical to the success of this unit. Discussions will be centered on these images and public artworks, helping students to relate new knowledge to their own experience. Gathering images of murals and tracking down the location of murals in the school's surrounding neighborhood is part of teacher preparation for this unit. Helpful websites and texts for doing so are located in the Teacher Resources section at the end of this unit.
Assessment will be ongoing throughout the unit. Teacher observation and frequent checks for understanding will be used to guide discussions and maintain conversations on a level that students can understand. Students with special needs will receive the same accommodations that they normally do, including preferential seating for those finding it difficult to focus on the on the discussion or demonstrated activity. During small group and individual activities, students will be paired up with or seated near peers of differing abilities in order to help and learn from each another.
The culminating project, constructing a class mural, will illustrate students' understanding of murals as a medium for storytelling and constructing meaning. Each child will design an image that shows something he feels is important about himself or his life. The children will then work collectively to piece the images together to make one large mural. As a celebratory component of the unit, students will put the mural on display for the school community and share the meaning of the mural with one another. In this way, they will be able to show what they have learned about the impact of the mural arts on their lives.
Lesson 1: The Mural as a Story
For this lesson it will be necessary to gather images of murals to share with students beforehand. The children's book Murals: Walls that Sing, by George Anacona, is a beautiful photo-essay of murals in the United States that is full of images that could be shared for teaching purposes. Images of Philadelphia's murals can be found online on the City of Philadelphia's Mural Arts Program website. Additionally, the director of the Mural Arts Program, Jane Golden, has coauthored two books that are chock full of gorgeous pictures of Philadelphia's murals. Regardless of how they are collected, images of murals will be used to guide both large and small group discussions, so it will be useful to have plenty of them to go around.
Begin by bringing students together as a whole group. Explain that murals are large paintings that are usually done on walls or on similar big flat spaces. Discuss any murals that students may have noticed in their community before. Choose an image of a mural to share with the class. Ask students to look closely as they think about the question, "What do you see?" After discussing this for a few minutes ask students to think about the question, "What story does this mural tell?" "Who do you think made this mural?" and "Why do you think the artists wanted to make this mural and tell this story?" Jot ideas onto chart paper to keep a running record of students' thoughts.
Explain that in many parts of the world, and especially in Philadelphia, people use murals to help them remember things, to tell stories, to beautify a space, or to send a message. Explain that as a class, you will be looking closely at murals in the neighborhood and thinking about the stories they tell. Connect looking at murals to reading a story. Compare stories and murals. Make connections between artists and authors, storyline and subject matter, audience and purpose.
As a closing activity, divide students into small, mixed ability groups of two or three children and give each group a different image of a mural to look at. Direct students to look at their group's image and think about the same questions, "What do you see?" "What story does this mural tell?" "Who do you think made this mural?" and "Why do you think the artists wanted to make this mural and tell this story?" Afterward, come back together as a large group and share the images and ideas. As a final thought, explain that for the next lesson, students will be taking a trip out into the neighborhood to look at, think about, and discuss a mural up close.
Lesson 2: The Mural as a Mirror
For this lesson it will be necessary to find a local mural to visit. With nearly three thousand murals in Philadelphia, it should be easy to find one near by. Philadelphia's Mural Arts Program's website has self-guided tour maps that can be downloaded to aid in locating murals. There is also an extensive database called MuralFarm.org, which allows
users to search by theme, artist, or neighborhood to locate a mural of interest. Students should be involved in the hunt. Ask if there is a specific mural nearby that students want to visit or give students several images of local murals and come to a group consensus about which one to go see.
As students walk to the mural, encourage them to look around and notice different colors, textures, and patterns in the neighborhood. When the mural is reached give students time to inspect it closely and touch it if possible. Gather students together in a whole group discussion format and as a group look over the mural. Note the colors, textures, and patterns in the mural. If there is a title, artists' name, or any other text on the mural, read it aloud. Have students describe what they see in the mural. You may want to review questions that were covered in the previous lesson. "What do you see?" "What story does this mural tell?" "Who do you think made this mural?" and "Why do you think the artists wanted to make this mural and tell this story?"
More importantly, explain to students that because this mural is in their neighborhood, it is important to identify how they feel about it and how they relate to it. Pair up students and initiate a turn-and-talk. Students should discuss the following questions with their partner: "What does this mural make you think of?" "How do you feel when you look at it?" "Do you like this mural?" "Why or why not?" Afterward, come back as a whole group and share ideas and thoughts. With permission, take pictures of the mural and of students' discussions. Later the pictures can be used during review to remind students of their ideas and talking points.
As an extension activity, students may want to share their feelings about the mural with the artists and/or community group that created it. By researching the mural online, locate contact information for someone involved in the construction of the specific mural that the students visited. Help students write a letter from the class that shares their feelings and thoughts about the mural. They may also have a few questions they would like to ask that could be included in the body of the letter. Send it and share any received response with the class. This correspondence can be used to enrich students' understanding of artist's purpose and audience participation and interpretation of public art. Students will be able to see that they are part of a larger dialogue about the aesthetics and values of their community.
Lesson 3: The Mural as Me
The materials required for this project may vary. Depending on the resources you have access to, your class mural may be assembled with anything from paper and glue to paint and butcher's paper. Students could use free online art software like Tux Paint to sketch out preliminary ideas. You may want to work in concert with your school's art teacher if you have one. Philadelphia's Mural Arts Program has many educational off shoots and you may want to contact them to see if your school could be involved. In any case, think about what is feasible for creating a mural with your class.
Explain to students that they are going to take everything they have learned about murals
and put it to work. They are going to make their own class mural to share their story with the school. Share images of murals and discuss how the mural artists used teamwork and collaboration to create one complete mural. Each artist is unique and different, but they work together to make a cohesive project. Talk to students about the fact that many times artists choose colors, shapes, textures, and patterns to set the tone of a painting and send a message about mood or feelings. For example some muralists use shades of blue to make a mural feel cool and soothing. Orange and red can be used to brighten and excite.
Each child will then participate in creating a large mural. Whether students work in small groups during designated times of the day or all at once in concert, every child should have a hand in creating the mural. Ideas include tracing profiles, finger painting, hand printing, and collaging. The resulting mural may be finished off with a decorative patterned border that students create individually and piece together as a finishing touch. Hang the mural in an area of the school where the school community can view it. Students should have an opportunity to admire and talk about their work. Here an extension activity would be to sponsor a mural dedication. Invite other students, school staff, family, and community members to celebrate the students' work. In this way the mural they have created becomes catalyst for dialogue just like the murals they studied and visited throughout the unit.
Barnett, Alan. Community Murals: The People's Art. Philadelphia: Art Alliance Press,
1984. An historical account of the community-based mural movement in major American cities including San Francisco, Los Angeles, New York and Philadelphia from 1965 to 1980. Includes many photographs of murals and graffiti that have since been destroyed.
Cockcroft, Eva. Toward a People's Art: The Contemporary Mural Movement. New
York: Dutton, 1977. A study of the community-based mural movement in the United States with an emphasis on the participatory democratic process of making public art.
Dunitz, Robin. Walls of Heritage, Walls of Pride: African American Murals. San
Francisco: Pomegranate Press, 2000. A collection of over two hundred African American murals coupled with descriptive narratives of the works by the artists who created them and a historical description of the contexts in which they were created.
Golden, Jane. Philadelphia Murals and the Stories They Tell. Philadelphia: Temple
University Press, 2002.
Golden, Jane. More Philadelphia Murals and the Stories They Tell. Philadelphia:
Temple University Press, 2006. Splendidly illustrated chronicles of the Philadelphia Mural Arts Program.
City of Philadelphia Mural Arts Program.
http://www.muralarts.org/
Mural Farm. An interactive database that allows search and exploration of Philadelphia's thousands of community murals.
http://www.muralfarm.org/Muralfarm/
Ancona, George. Murals: Walls that Sing. New York: Marshall Cavendish Children's
Books, 2003. A children's book of colorful photographs of outdoor murals and the communities they are housed in.
Greene, Alesia. A Mural for Mamita. Omaha: Centering Corporation, 2002. A children's storybook about the making of a fantastic mural by a community to commemorate the life of a girl's grandmother.
Tux Paint. Free and award-winning drawing program for students ages 3-12.
http://tuxpaint.org/
The Core Curriculum used by the School District of Philadelphia is aligned with the Pennsylvania Department of Education's Academic Standards. When Looking at Me, What do you See?: Teaching Kindergartners to Interact With Murals is also aligned to those standards, which may be viewed in their entirety at www.pdesas.org/. This is a curricular unit that incorporates standards for the Arts and Humanities with standards for Speaking and Listening. Students will practice looking at art in the form of murals. They will rehearse thinking about the murals and forming an aesthetic and critical response to them. They will repeatedly engage in discussions about their opinions. In a sense, it will be the students themselves who making meaning from the artwork before them.
Academic Standards for the Arts and Humanities
9.3.3. Critical Response
A. Recognize critical processes used in the examination of works in the arts and humanities.
Form and test hypotheses
Evaluate/form judgments
B. Know that works in the arts can be described by using the arts elements, principals and concepts.
D. Explain meanings in the arts and humanities through individual works and the works of others using a fundamental vocabulary of critical response.
E. Recognize and identify types of critical analysis in the arts and humanities.
Contextual criticism
Formal criticism
Intuitive criticism
F. Know how to recognize and identify similar and different characteristics among works in the arts.
G. Know and demonstrate what a critic's position or opinion is related to works in the arts and humanities.
9.4.3. Aesthetic Response
A. Know how to respond to a philosophical statement about works in the arts and humanities.
B. Know how to communicate an informed individual opinion about the meaning of works in the arts.
C. Recognize that the environment of the observer influences individual aesthetic responses to works in the arts.
D. Recognize that choices made by artists regarding subject matter and themes communicate ideas through works in the arts and humanities.
Academic Standards for Reading, Writing, Speaking and Listening
1.6.3. Speaking and Listening
A. Listen to others.
C. Speak using skills appropriate to formal speech situations.
D. Contribute to discussions.
E. Participate in small and large group discussions and presentations.
1http://www.goodreads.com/author/quotes/3503.Maya_Angelou
2http://www.thenotebook.org/may-2006/061110/budgets-tightening-arts-education-further-squeezed
3Lilian Moore, Mural on Second Avenue, and Other City Poems (Cambridge, Massachusetts: Candlewick Press, 2004) 4.
4Jane Golden, Robin Rice, and Natalie Pompilio More Philadelphia Murals and the Stories They Tell (Philadelphia, Pennsylvania: Temple University Press, 2006) 19.
5Christy Hale, "Mural: Real High," Instructor 113(2), 2003: 8.
6Golden, More Murals, 18.
7Ibid.,18.
8Robin Dunitz, Walls of Heritage, Walls of Pride: African American Murals San
Francisco, California: Pomegranate Press, 2000) 4-5.
9Jane Golden, Robin Rice, and Monica Yant Kinney, Philadelphia Murals and the Stories They Tell (Philadelphia, Pennsylvania: Temple University Press, 2002) 7.
10Golden, More Murals, 23.
14Golden, Philadelphia Murals, 8.
15http://www.muralarts.org/whatwedo/arted/, http://www.muralarts.org/whatwedo/justice/, and http://www.muralarts.org/whatwedo/community/.
16Golden, More Murals, 154.


Fiancé Visas allow persons to visit the United States and marry a U.S. citizen resident of Baxley GA.
A fiancé petition must be filed within the United States; these cannot be filed abroad. Even though you plan to reside in Baxley all immigration papers will need to be filed at the appropriate regional USCIS office. There will be additional information on the most current forms, and an immigration attorney can also assist you with the filing.
Once the fiancé petition is granted and your fiancé has entered the country, the marriage must happen within 90 days. After getting married, the immigration application may change their status to reflect their marriage to a U.S. citizen. Seasoned Baxley, GA Fiancé Visa Attorneys can help you streamline this complex and confusing process.


Popped down to Bar Academy last night to photograph Weaver who, despite a few technical hitches, played a great set.
Stuck around for Electric Animals too who were also pretty good.
Tonight I'm DJing at the Hard Rock Cafe again. A few friends have said they're coming which is good. Must remember to take some new tunes with me tonight..


Humanity's capacity to engineer the living world is a collective concern that requires collective engagement. While synthetic biology has expanded the breadth of technical participation to include a host of engineering disciplines, the next generation of innovators in biotechnology will include diverse communities across cultural, socioeconomic, artistic, and creative domains.
The Community Biotechnology initiative is developing tools and technologies to enable the broadest possible participation in biotechnology. Our projects include the creation of low-cost enabling hardware, infrastructure for sharing, and new interfaces for artistic expression with biology.
An International Summit on community biotechnology to be held in September 2017.


I had to do something similar in summing the coil pack signals to get the Lucas EFI on my Range Rover to work when I converted to coil packs.
An exhaust that won't deafen me.
I started doubting what tube I used when I built the exhaust. So I nipped out and measured it. It is 2 3/8" ID.
A few interesting ides. Thanks.
I'll get some from Eurocarparts. They have a local branch and the price looks good.
PG1 inner CV joint heat issues?
What wheels are you running? I've been using some 6 spoke Metro GTA wheels which are 5.5J wide, but those seven spokes you have look wider. Where did you get them from?
I just took a look at the link to the space frame vehicle. Flame me if you want but I'll nail my colours to the mast and say I don't like it.
I also feel for you. It looks a great deal worse that would be expected from the first pictures you showed.
Does the exhaust wrap stuff work well? I've always reused old three layer shields and just cut bashed and riveted them into shape.
this is a contentious discussion point.
Not exactly a technical article BUT his basic point looks to be sound.
Generally bottle levels do go up and down with engine speed but not by more than 15mm or so. How have you plumbed it in?
Interested to see how you get on with the ACAC (intercooler) installation.
Yes. But do it well and you only have to do it once.
Sorry I'm not sure I understand your question.


There's no getting around it -- the world of open-source/free software is pretty Balkanized. So much so, in fact, that many leading lights can't even agree on what to call the sprawling ecosystem of non-proprietary software. This means it can be far from obvious where to go for the best possible information on the topic, whether you're trying to learn some Linux basics or keep up with the latest developments. Here's a brief overview of the most useful open source websites that, we hope, will help take you from "what's a kernel?" to "I have a favorite distro."


If you are considering the idea of starting your own wedding planner business, there are quite a few things that you'll want to think about carefully before you start investing your time and money into that dream. You may have helped plan a few weddings with your friends in the past, but doing it professionally is an entirely different animal. All disclaimers aside, there are few things in this world more rewarding than being your own boss; especially if you get to do something you're good at and love to do at the same time. Besides having a firm grasp on basic business operations and marketing, there is a unique set of contacts and business relationships that you'll want to acquire before you open your doors for business. Here is an overview of what you'll need to get going in the right direction and be successful as a wedding planner.
By far, the most important relationships to work out ahead of time are those with the different wedding venues in your service area. Not only will this put you on good footing to get premium dates booked out for your clients, but you can also get discounts through certain venues that can act as a perk for couples that choose to hire you as their wedding planner. On top of that, knowing the local venue scene can help you pick the perfect venue for your clients based on their wishes, which also adds value to your planning services.
Similarly, you'll want to work out relationships with a set of preferred wedding vendors. These are people like wedding photographers, caterers, and florists that provide the bulk of the goods and services for the ceremony and reception. Having a great set of vendors on hand is crucial because you need to be able to rely on each and every one of them to do the job right, so getting to know a particular vendor and working with them on a regular basis can ensure that you know what you're getting. There is nothing worse for your reputation than having a wedding vendor perform badly that you selected yourself, so knowing who is good and who is not can make your business stronger over time.
Wedding supplies can get very expensive at even a modest sized wedding, so having good contacts in this area is a great way to pass savings onto your clients. Everything from wedding favors like bottle openers and sparklers for weddings to basic supplies like plastic cups and napkins need to be sourced, and usually you can work out wholesale or discounted rates since you shop for so many couples. Also, this will eliminate the need to search for certain wedding supplies at the last minute which will free you up to pay attention to more critical parts of the wedding planning process.
Every wedding reception needs entertainment, so knowing the best entertainers in your area is vital to being a great wedding planner. Some couples will prefer to have a DJ that plays their personal favorite songs. Other couples prefer to have a live band that plays popular music from a certain time period. Whatever your clients want for their wedding reception, you need to be ready to provide it and know that the entertainer will deliver a fun time for everyone.


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Ocean Front Cottage
Posted on August 21, 2018 March 29, 2022 by Summer Fortner
Fort Screven Historic District
Figure 1: Fort Screven before any residential homes were established.
Photo courtesy to The Light House Inn bed and breakfast
Fort Screven today is known to us as a location where some of our favorite rentals are located. However, it has some pretty interesting history behind it!
Fort Screven got its name after Brig. Gen, James Screven, who is considered a hero of the American Revolution. Fort Screven was the last coastal fort to be built in Georgia! Many parts of Fort Screven are still standing today and can be seen. Battery Garland, which now is the home to the Tybee Island Museum is a popular tourist attraction!
Back in 1733, when James Oglethorpe founded Georgia, he realized that the North end of Tybee island would be a big value to the military. This is where they were able to guard the mouth of the Savannah River until the end of World War II. In 1786, Georgia Legislature authorized the building of a fort on Tybee Island, however the fort that was approved never actually got built. They ended up building a Martello Tower (a small round fort) around 1815. This fort was built from "tabby" – a concrete made of shell, sand, lime, and water. This stood through the War Between the States where it fell to disrepair.
Both Union and Confederate troops would occupy Fort Screven between 1861 and 1865. Heavy firing from earthwork gun batteries on the north end of Tybee Island breached Fort Pulaski in 1862, signaling the end of the masonry costal fortifications.
During President Cleveland's administration, Secretary of War, William C. Endicott had ideas for the basis that became the Endicott System – a string of coastal defense that were built to protect most of America's important port cities. This system called for multiple batteries to be built and spaced out at the entrances to important harbors. This was built a little better than the Martello Tower as they now had the latest heavy artillery and was built from concrete and steel, as well as sand and beach plants. This made it also invisible from the sea.
By this time, there was a threat of the war with Spain. In 1896, they began work on what locals called Fort Tybee. The first military was called Camp Graham, but soon changed to Fort Screven. This became an important military post of the Spanish American War in 1898, however most of the batteries were not complete at this time. The Spanish never had a threat on Savannah and the fort never came under fire.
Fort Screven ended up having seven batteries. Six of which were located on Tybee Island, and the seventh, Battery Hambright, near Fort Pulaski. The only two that are open to the public are Battery Garland, that houses the Tybee Island Museum, and Battery Hambright. The others can be seen from the street but are not available to the public. The museum is open daily (except on Tuesdays) from 9:30am to 5:30 pm. The last tickets are sold at 4:30pm and can be purchased at The Tybee Island Lighthouse, which is located across the street!
Figure 2: Tybee Museum at Battery Garland. Open to the public today! Photo courtesy to For the love of wonderful.
PS. Check out some of our rentals in the Historic Fort Screven district here – Tybee Sunrise , #20 Oceanview Court, Almost Heaven Ocean Queen, and Ocean Paradise!
Fort Screven Historic District March 29th, 2022Summer Fortner
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Do you enjoy helping others to feel beautiful, confident and healthy? Are you looking for a way to turn your passion for helping people into a career that is lucrative and enjoyable? David Pressley School of Cosmetology provides esthetician training for serious students. Our program teaches you the latest techniques and technologies for purifying, renewing and balancing the skin so your clients have the foundation they need to look and feel amazing. Through lectures, demonstrations and hands-on training in a spa environment, you will learn how to provide body treatments, facials, makeup applications and hair removal treatments. Additionally, we teach you the skills you need to build your business as a licensed esthetician.
Receiving a certificate in esthiology requires 600 hours in approved training courses. Although Michigan only requires students to have 400 hours, we added more extensive training to ensure you can use your license in any state upon graduation. Even if you plan to stay in town, the additional coursework and demonstration time will help to build your confidence as well as your clients' confidence in you. The program, which lasts a total of 20 weeks, is available for both day and evening students. We accept financial aid, including Pell Grants and Stafford Loans. Upon graduation, you can travel many career paths, including working as a spa therapist or wellness consultant. You could even go on to own your own spa.
Are you ready to take your career to the next level? Do you want to learn about esthiology or how to start cosmetology instructor training? Contact the David Pressley School of Cosmetology admissions office at 248-548-5090. We have campuses in Royal Oak and Taylor.


STOP SQUANDERING AWAY MINES, TREASURY BENCHES WARN THE GOVT.
Even as the Minister-in-charge, responding to an adjournment notice, rejected on June 25 the Opposition demand for an inquiry by a House committee into dubious deals in mining lease, heavyweights in the treasury benches warned the State Government that unless it changes its style of functioning, it's support to industries may aptly be interpreted as squandering away the mining wealth mother nature has given to Orissa.
Stressing on the instance of Jindal's procurement of around 2000 acres spread of mines through purchase from a Kolkata based company, reprimands rolled out from the treasury side over irregular allocation of the mines to the seller without assessment of his mining ability and industrial requirements.
In these pages it was earlier shown that the State Government has not yet framed a Mining Policy in order to remain unanswerable in matters of arbitrary allocation of mines.
Treasury Bench heavyweights endorsing their calling attention notice wondered if the Government has ever thought it prudent to be guided by a Mining Policy and also showed how in absence of a Policy it has granted 5000 Acres of land where 2000 Acres could have been sufficient to meet the requirement. Such squandering away of mineral and natural wealth would be detrimental to interests of Orissa, they warned.
Despite this they disagreed with the Opposition demand for a House Committee probe. The probe may be conducted by any other credible agency, they pleaded.
The Minister-in-charge rejected the probe demanded by both the Opposition and the Treasury benches. There is no necessity of any special probe, he emphasized.
However, the Minister perhaps inadvertently, revealed a chilling reality. That is, the Government's own organization IPICOL was found not reliable in handling such probe or scrutiny in mining matters.


Universities in Colorado may be taking a page out of Boise State's book by pushing for better athletics to drive business to their schools. Boise State made strides to increase enrollment of out-of-state students in large part because of their 2007 Fiesta Bowl victory. Now, Colorado schools are looking to their athletics for help.
Because state funding for higher education in Colorado is bleak, Jack Graham – Colorado State University's athletic director – thinks Boise State is on to something. Successful athletic programs often help Universities gain recognition by showcasing their school on a big stage.
By the numbers, Bruce Benson seems to be absolutely correct.
Traffic to CSU's website increased by 20 percent last March when the men's basketball team won their first NCAA Tournament game in 24 years.
Traffic to CSU's online enrollment page went up by 42 percent the week before the NCAA Tournament started.
Boise State had a 40 percent application increase just after winning the 2007 Fiesta Bowl.
Numbers like these seem to confirm the importance of college athletics. According to Bob Kustra – president of Boise State University – when the school receives more applications, the quality of students increases. 28 percent of incoming freshmen had a grade-point average of 3.5 or higher. Track ahead to 2012 and that figure reached 45 percent.
After hiring Rick George as the new athletic director, the University of Colorado plans on starting fundraisers to upgrade the athletic programs, including Folsom Field. The other staple school of Colorado, CSU, plans on raising money as part of their plans to build a $300 million football stadium. Colorado schools are now leaving it up to their athletic programs to help them out in the world of business. If the views around campus aren't enough to draw out-of-state enrollment, perhaps sports will be. Read more here.
Have you considered a school because of their athletic program?


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Hostility Erupts Over COVID-19 Mask-Wearing Practices: How to remain safe during hostile encounters
Oscar Villanueva
Hostility Erupts Over COVID-19 Mask-Wearing Practices:
How to remain safe during hostile encounters
By Oscar Villanueva
Managing Director of Security Services & Crisis Preparedness at R3 Continuum
A new challenge as we begin to see more people return to public spaces during the COVID-19 crisis is whether to wear a mask in public. Some people believe wearing a mask is necessary to prevent COVID-19 infection to self or others. Others refuse to wear a protective mask believing the COVID-19 crisis has been blown out of proportion and infection is no more likely than other viruses like the flu already among us.
The official guidance from the Centers for Disease Control and Prevention (CDC) is to wear a mask in public settings and observe social distancing to prevent infection. These recommendations have been echoed by several other medical and government organizations.
Regardless of which group you belong to on this issue, this difference as to whether to wear or not to wear a mask is impacting all of us and creating friction in public. There are several reports of hostility resulting from both groups coming together in public settings. A recent report from Newtown, CT, is a good example of encounters of this type. A woman shopping at a local store and walking through a designated one-way aisle observed a male shopper not wearing a mask as required by the store. She disagreed with the un-masked shopper and removed her own mask to spit on the man's face. The police were called, and she was arrested. In a similar incident a man in Highlands County, FL, was arrested for threatening to shoot up a grocery store because not enough people were wearing a mask.
What you need to know to avoid conflict
If you find yourself in a situation like the ones described above, the best way to remain safe and secure is to avoid conflict. Here are some security tips to consider:
If at a retail shop or other business and you disagree with the mask-wearing practices of others, communicate your concerns to management and have them address the issue.
Accept the other person's decision to wear or not wear a mask and remove yourself from the situation.
If you advocate for wearing a mask and are in contact with a person not wearing one, reference the safety needs of both parties. Use phrases like "wearing a mask is a good idea to keep us both safe from infection."
Work to understand the other person's position and show empathy.
Ask for their cooperation in resolving the issue.
If all else fails, walk away.
Hostility management and de-escalation techniques are key to successful outcomes under these circumstances, and training in these disciplines is recommended.
Ensure the physical and psychological safety and security of your organization. Talk to us.
For security resources, behavioral health solutions and real-time front lines information, visit us at www.r3c.com, email us at info@r3c.com or call us at 866-927-0184.
Managing Director of Security Services & Crisis Preparedness, Oscar
As a former federal security and law enforcement agent and executive, and now security consultant, Mr. Villanueva has led large scale high-performing security, law enforcement and training consulting missions and operations in several large metropolitan areas worldwide including in the U.S.A., Europe, Latin America, Asia, the Caribbean, and Africa. Oscar is bilingual in English and Spanish.
Mr. Villanueva is currently a member of ASIS International and the organization's Crime Prevention Council. Oscar has also worked in the ASIS Professional Development Council, where he served as immediate past Chair of the Council's mentoring program. Mr. Villanueva is a Member of the Association of Threat Assessment Professionals (ATAP), and the International Association of Chiefs of Police (IACP).


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Celebrity deaths 2019: Remembering those we lost this year
By Mike Rose, cleveland.com
Celebrities we lost in 2019
As we near the end of 2019, we take time to look back at those celebrities and other famous individuals we have lost in the past year. Check out our slideshows to learn more about those luminaries who have passed on.
-Mike Rose, cleveland.com
Actress Julie Adams, 1926-2019
Best known for her starring role in 1954's 'Creature from the Black Lagoon'
Danny Aiello, 1933-2019
Was nominated for an Oscar in 1990 for his role in 'Do The Right Thing'
Actor Jed Allan, 1935-2019
Longtime soap opera actor also appeared as the host of 'Celebrity Bowling'
Chef Fatima Ali, 1989-2019
Ali competed on Season 15 of 'Top Chef'
Drummer Andy Anderson, 1951-2019
Former drummer for The Cure
Actor Rene Auberjonois, 1940-2019
Best known for his roles on 'Benson' and 'Star Trek: Deep Space 9' as well as originating the role of Father Mulcahy in the film version of 'MASH'
Singer and actress Kaye Ballard, 1925-2019
Appeared in numerous variety shows and was the first to record 'Fly Me to the Moon'
Rapper Bushwick Bill, 1966-2019
Best known for his role as part of the Geto Boys
Reality TV star Rudy Boesch, 1928-2019
Two-time 'Survivor' contestant was in the Navy for 45 years
Actor Cameron Boyce, 1999-2019
Popular Disney Channel actor who appeared as Carlos in 'The Descendants' series of films.
Former MLB player Bill Buckner, 1949-2019
Longtime MLB star will always be remembered for his error against the Mets in Game 6 of the 1986 World Series
Make-up and effects artist John Carl Buechler, 1952-2019
Worked on a number of horror films including 'Halloween 4' and 'Ghoulies'
Wrestler King Kong Bundy, 1955-2019
Wrestled in WCW and WWF, mostly as a heel
Actor Carmine Caridi, 1934-2019
Played different roles in 'The Godfather II' and 'The Godfather III'
Actress Diahann Carroll, 1935-2019
First African-American actress to win a Tony Award for Best Actress also had a longtime role on the show 'Dynasty'
Athlete Howard 'Hopalong' Cassady, 1934-2019
Former Ohio State Heisman winner and Detroit Lions RB
Actor Seymour Cassel, 1935-2019
Veteran actor had more than 200 acting credits to his name, nominated for an Academy Award for his role in 'Faces'
Actress Carol Channing, 1921-2019
Veteran actress and comedian won a Tony Award and had an Oscar nomination.
Bounty hunter Beth Chapman, 1967-2019
Wife and co-star of 'Dog the Bounty Hunter'
Writer and director Martin Charnin, 1934-2019
Conceived and directed the musical 'Annie'
Chef Leah Chase, 1923-2019
Dubbed the 'Queen of Creole Cooking,' and ran the restaurant Dooky Chase
Jacques Chirac, 1932-2019
Former president of France
Actor John Clarke, 1931-2019
Played Mickey Horton on 'Days of Our Lives' for almost 40 years
Country singer Earl Thomas Conley, 1941-2019
Only Alabama and Ronnie Milsap had more country number one hits in the '80s than Conley
Actor and comedian Tim Conway, 1933-2019
Northeast Ohio native won 6 Primetime Emmy Awards over the course of his career.
Kicker Fred Cox, 1938-2019
Vikings kicker for 14 years; also invented the Nerf football
Musician Dick Dale, 1937-2019
Was known as 'The King of the Surf Guitar' and was a pioneer of that form of music.
Actor Paul Darrow, 1941-2019
Best known for his leading role in the British sci-fi show 'Blake's 7'
Actress Doris Day, 1932-2019
One of the last living actors of the Golden Age of Hollywood, Day was nominated for an Oscar for her role in 'Pillow Talk'
Author Terrance Dicks, 1935-2019
Author of children's books as well as long-time writer for 'Doctor Who'
Olympian Harrison Dillard, 1923-2019
Won multiple Track & Field gold medals and the 1948 and 1952 Olympics
Director Stanley Donen, 1924-2019
Directed numerous Hollywood hits in the '50s and '60s including 'Singing in the Rain' and 'Charade'
Singer Daryl Dragon, 1942-2019
Part of the musical duo Captain and Tennille
Actor and comedian Bob Einstein, 1942-2019
Originated the persona 'Super Dave Osborne'
Actor Aron Eisenberg, 1969-2019
Best known for his role as the Ferengi Nog on 'Star Trek: Deep Space 9'
Actress Georgia Engel, 1948-2019
Emmy-nominated actress is best remembered for her role as Georgette on 'The Mary Tyler Moore Show'
Actor Richard Erdman, 1925-2019
Prolific actor appeared in many television shows as well as films like 'Stalag 17' and 'Tora! Tora! Tora!'
Musician Roky Erickson, 1947-2019
Pioneering psychedelic musician and founding member of the band 13th Floor Elevators
Actor and singer Jeff Fenholt, 1950-2019
Originated the role of Jesus in the Broadway version of 'Jesus Christ Superstar'
Actor Albert Finney, 1936-2019
5-time Oscar nominee (most recently for his role in 'Erin Brokovich'), Finley also originated the role of Scrooge in the the 1970 musical 'Scrooge'
Singer Keith Flint, 1969-2019
Founding member and frontman for the band Prodigy
Actor Peter Fonda, 1940-2019
Son of Henry Fonda and father of Bridget, Peter was twice nominated for Oscars ('Ulee's Gold' and 'Easy Rider')
Actor Robert Forster, 1941-2019
Longtime Hollywood actor had a career renaissance after his Oscar-nominated role in 'Jackie Brown'
Zoologist Jim Fowler, 1930-2019
Longtime TV host for 'Mutual of Omaha's Wild Kingdom.'
Clark Gable III
Former TV host and actor; grandson of legendary Hollywood actor Clark Gable
Author Earnest Gaines, 1933-2019
Author of 'A Gathering of Old Men' and 'A Lesson Before Dying'
Actor Bruno Ganz, 1941-2019
Ganz had a long career in German television and films in addition to his work in Hollywood.
Actor Robert Garrison, 1960-2019
Played Cobra Kai member Tommy in 'The Karate Kid'
Celebrity feline Grumpy Cat, 2012-2019
Social media star and subject of endless online memes; her real name was Tardar Sauce
Actor Sid Haig, 1939-2019
Best known for his role of Captain Spaulding in Rob Zombie's horror films
Actress Valerie Harper, 1939-2019
Emmy-Award winner from 'The Mary Tyler Moore Show' and her self-named spinoff 'Rhoda'
Singer Kylie Rae Harris, 1989-2019
Rising country star was only 30 when she died in an auto accident
Actor Rutger Hauer, 1944-2019
Dutch actor who transitioned to Hollywood; best-known for his role in 'Blade Runner' as the replicant Roy.
NBA Hall of Famer John Havlicek, 1940-2019
Former Ohio State and Boston Celtics star won 8 NBA Championships during his career.
Actor David Hedison
Starred in 'Voyage to the Bottom of the Sea' as well as appearing in Felix Leiter in two James Bond films.
Actress Katherine Helmond, 1929-2019
Longtime Hollywood actress is best known for her role as Mona on 'Who's the Boss?'
Composer Jerry Herman, 1931-2019
Herman won multiple Tony Awards and Grammys for his work on shows including 'Mame' and 'Hello, Dolly!'
Business magnate Barron Hilton, 1927-2019
Former chairman of Hilton Hotels and also the original owner of the San Diego Chargers
Musician Mark Hollis, 1955-2019
Co-founder and lead singer of the band Talk Talk
Singer and songwriter Robert Hunter, 1941-2019
Longtime collaborator with Jerry Garcia and The Grateful Dead
Rapper Nipsey Hussle, 1985-2019
LA rapper was shot outside his store earlier this year.
Radio host Don Imus, 1940-2019
Longtime radio host and political commentator
Singer and songwriter James Ingram, 1952-2019
Two-time Grammy-Award winner also recorded a number of songs for films including "Somewhere Out There" from 'An American Tale'
Actor Larry 'Flash' Jenkins, 1955-2019
Had several minor, but memorable, film roles including Gummy in 'Fletch'
Singer and songwriter Dr. John, 1941-2019
Popular New Orleans musician was inducted into the Rock Hall in 2011
Comedian Arte Johnson, 1929-2019
Regularly appeared on 'Rowan & Martin's Laugh-In'
Singer, songwriter and artist Daniel Johnston, 1961-2019
Noted for his influence on musical artists like Kurt Cobain.
Actor Eddie Jones, 1934-2019
Appeared in a number of television shows and films; played Superman's father in 'Louis & Clark'
Actor Freddie Jones, 1927-2019
Prolific British actor had more than 200 acting credits to his name
Actor Ken Kercheval, 1935-2019
Best known for his role as Cliff Barnes on 'Dallas'
Actor Gabe Khouth, 1972-2019
Mostly known for his voice work in animea
Novelist Judith Krantz, 1928-2019
Novels include 'Scruples' and 'Till We Meet Again'
Fashion designer Karl Lagerfeld, 1933-2019
Creative director for Chanel for more than 35 years
(Photo by Mark Davis/Getty Images for YouTube)
Lil' BUB, 2011-2019
Celebrity pet best know for social media presence
Actress Peggy Lipton, 1946-2019
Former 'Mod Squad' star was also mother of actress Rashida Jones
Actress Carol Lynley, 1942-2019
Best known for her starring roles in 'The Poseidon Adventure' and 'Blue Denim'
Actor Bill Macy, 1922-2019
Longtime actor best-known for his work on 'Maude'
Actress Tania Mallet, 1942-2019
Fomer Bond Girl who played Tilly Masterson in 'Goldfinger'
Fashion designer Chris March, 1963-2019
Former 'Project Runway' contestant
Model Elly Mayday, 1988-2019
Was an advocate for women's health throughout her career
Actor Peter Mayhew, 1944-2019
Best known for his portrayal of Chewbacca in 'Star Wars'
Lynn Ischay, The Plain Dealer
Fred McCleod, 1952-2019
Former television announcer for the Cleveland Cavaliers
Actress Sylvia Miles, 1924-2019
Twice-nominated for Academy Awards for Best Supporting Actress
Actor Dick Miller, 1928-2019
Longtime character actor known for playing "everyman" roles in films ranging from 'Gremlins' to 'Terminator' and many television appearances
Actress Norma Miller, 1919-2019
Helped bring about the revival of swing and earned the title of 'Queen of Swing'
Singer Eddie Money, 1949-2019
Grammy-nominated singer had a string of hits in the '70s and '80s including 'Take Me Home Tonight' and 'Two Tickets to Paradise'
Actress Shelley Morrison, 1936-2019
Played Sister Sixto on 'The Flying Nun' and, more recently, Rosario on 'Will & Grace'
Author Toni Morrison, 1931-2019
Lorain native, Nobel winner and author of many novels including 'Beloved'
Actress Nadja Regin, 1931-2019
Appeared in a number of British television shows and two James Bond films
Actress Denise Nickerson, 1957-2019
Appeared as Violet Beauregarde in 'Willy Wonka and the Chocolate Factory'
Singer and producer Ric Ocasek, 1944-2019
Lead singer for The Cars
Wrestling announcer "Mean" Gene Okerlund, 1942-2019
Longtime WWF/WWE announcer and host
Photographer Terry O'Neil, 1938-2019
Best known for his fashion and celebrity photos from the '60s
Actress Beverley Owen, 1937-2019
Played the original Marilyn Munster on 'The Munsters'
Architect I.M. Pei, 1917-2019
Known for his many modern building designs including work on The Louvre in Paris and the Rock and Roll Hall of Fame and Museum in Cleveland.
Actor Joe Pilato, 1949-2019
Played Captain Rhodes in 'Day of the Dead'
Businessman H. Ross Perot, 1930-2019
Billionaire twice ran for president
Actor Luke Perry, 1966-2019
Best known for his role on 'Beverly Hills, 90210' as Dylan McKay
Businessman T. Boone Pickens, 1928-2019
Well-known hedge fund manager and political activist
Producer Hal Prince, 1928-2019
Earned more than 20 Tony Awards over the course of his career
Pro wrestler Harley Race, 1943-2019
Wrestled or work as a trainer in every major pro-wrestling circuit including WWF, NWA and WCW
Singer Leon Redbone, 1949-2019
Prolific singer and songwriter also wrote and performed the theme to 'Mr Belvedere'
Assocaited Press
Journalist Cokie Roberts, 1943-2019
Longtime political reporter and analyst worked for NPR and ABC News
Actress Doris Roberts, 1925-2019
Longtime Hollywood actress played Marie on 'Everybody Loves Raymond'
Hall-of-Fame baseball player and manager Frank Robinson, 1935-2019
Only player to be named MVP in both leagues also managed the Indians late in his career
Musician Ranking Roger, 1963-2019
Performed with The Beat, General Public and Big Audio Dynamite
Celebrity chef Carl Ruiz, 1975-2019
Appeared as a judge on numerous television cooking shows
Singer Maxine Brown, 1931-2019
Country singer performed in the family trio The Browns
Screenwriter Alvin Sargent, 1927-2019
Won Oscars for his screenplays for 'Ordinary People' and 'Julia'
Actress Lisa Sheridan, 1974-2019
Television actress appeared in a number of roles from the '90s on
Actor Karl Shiels, 1971-2019
Stage and screen actor had a small role in 'Batman Begins'
Novelist Anne Rivers Siddons, 1936-2019
Wrote a number of books set in the South that became movies including 'Heartbreak Hotel'
Director John Singleton, 1968-2019
First African-American to be nominated for a Best Director Oscar for 'Boyz n the Hood'
Actor Joseph Sirola, 1929-2019
Veteran of stage, television and film was dubbed the 'King of Voiceovers' for recording thousands of commercials
Actor Caroll Spinney, 1933-2019
Original puppeteer for Big Bird and Oscar the Grouch on Sesame Street.
Actor Kristoff St. John, 1966-2019
Best known for his work on 'The Young and the Restless' as Neil Winters
Hall of Fame QB Bart Starr, 1934-2019
Former Packers QB won the first two Super Bowls
Actor Rip Taylor, 1931-2019
Actor and comedian who made a name for himself for his confetti-tossing gag
Actress Russi Taylor, 1944-2019
The voice of Minnie Mouse as well as Martin on 'The Simpsons'
Musician Peter Tork, 1942-2019
Bassist for The Monkees
Actor Rip Torn, 1941-2019
Nominated for multiple Emmy Awards for his work on 'The Larry Sanders Show'
Actor Brian Turk, 1970-2019
Best known for his role of Gabriel in the show 'Carnivale'
Socialite Gloria Vanderbilt, 1924-2019
Heiress to the Vanderbilt family and mother of Anderson Cooper
Actor Jan-Michael Vincent, 1944-2019
Best known for his leading role in 'Air Wolf'
Singer Scott Walker, 1943-2019
Part of the singing group The Walker Brothers
Musician Larry Wallis, 1949-2019
An early member of Motorhead as well as part of Pink Faeries
TV Host Suzanne Whang, 1962-2019
Longtime host of the HGTV series 'House Hunters'
Boxer Pernell Whitaker, 1964-2019
Olympic gold medalist and member of International Boxing HoF
Actor William Wintersole, 1931-2019
Veteran character actor who also appeared as Ted Ballantine on 'General Hospital' and Mitchell Sherman on 'The Young and the Restless'
Singer Mac Wiseman, 1925-2019
Co-founder of the Country Music Association (CMA)
Actor John Witherspoon, 1942-2019
In addition to his television career, he played Willie Jones in the 'Friday' series of films
Actor Morgan Woodward, 1925-2019
Best known for his role as Marvin Anderson on 'Dallas'
Author Herman Wouk, 1925-2019
Won Pulitzer for his novel 'The Caine Mutiny'
Actor Max Wright, 1943-2019
Made appearances in numerous television shows, but is probably best known for playing Mr. Tanner on 'ALF'
Director Franco Zeffirelli
Italian director known for his adaptations of Shakespeare as well as for shooting 'Jesus of Nazareth'
Prior celebrity deaths
Take a look back at celebrities and other famous people we lost in 2018.
Celebrity facts
Danielle Fishel and the 'Boy Meets World' cast
Jennifer Lawrence & Mila Kunis
More movie and television facts
'Friends' turns 25: Fun facts about the hit show
25 celebrities who appeared on 'Friends'
15 fun facts about 'Napoleon Dynamite' to celebrate its 15th anniversary
20 fun facts about 'The Phantom Menace' for its 20th anniversary
25 actors you didn't know were on 'Game of Thrones'
Oscars hosts since 1989
20 fun facts about 'Love Actually'
Relive your childhood with these 120 Hanna-Barbera cartoons
25 actors you didn't know appeared in 'Boy Meets World'
88 celebrities who were born in Canada
Fun facts about 'The Big Lebowski' and 20 other movies turning 20 in 2018
Fun facts about 'I Know What You Did Last Summer' for its 20th anniversary
Celebrate 'Dirty Dancing' turning 30 with these fun facts
20 fun facts about 'Scream' for its 20th anniversary
'Romeo + Juliet' turns 20: Where are they now
Remembering Alan Rickman: His most memorable roles
10 movies that turned 10 in 2016
Want to see more celebrity birthdays as well as additional fun facts posts? Follow me on Facebook for the latest by clicking the "like" button below.


1. What changes are proposed to the CACFP nutrition standards?
Increasing requirements for fruits, vegetables, whole grains, and low- and no-fat dairy foods.
Requiring that safe drinking water is available throughout the day.
Restricting the availability of fried foods.
Providing reimbursement when an infant is breastfed on site by the mother, to incentivize nursing.
Allowing centers to make meal substitutions that accommodate special dietary or medical needs.
Updating the categories of age-appropriate nutrient guidelines to: 0-3 months, 4-7 months, 8-11 months, 1-2 years, 3-5 years, 6-12 years, and 13-18 years.
2. Why is it important for kids to have healthy foods at child care?
Millions of American children, particularly younger ones, spend time in child care settings each week3: Over 12 million children under the age of 5 (61 percent) regularly receive care outside their homes. The preschool years are a critical time when children establish dietary habits that can have long-term effects on appetite, obesity, and risk factors for cardiovascular disease. Research shows that, on average, infants and toddlers do not consume the recommended amounts of foods most important to their nutrition and development, such as fruits and vegetables. Ensuring that nutritious foods and beverages are served in child care settings is an important step in improving the health of young children nationwide.
3. Why is the USDA updating the standards?
Congress directed the USDA to revise the guidelines in the same legislation that improved nutrition standards for school meals and snacks. The CACFP meal standards have not undergone a major update since the program's inception in 1968. Given the strong evidence that the early learning period is critical to long-term health and academic success, CACFP's standards should reflect our understanding of children's nutrition and dietary needs.
4. How can child care providers, parents, and advocates help shape the updated standards?
The USDA is accepting feedback from the public on the proposed standards—specifically seeking comments on the feasibility, practicality, and challenges associated with implementing them—during a 90-day comment period that ends April 15, 2015. The proposed rule, and information for submitting formal comments, can be found on the Federal Register website.
The Institute of Medicine published "Child and Adult Care Food Program: Aligning Dietary Guidance for All" in 2010 to inform the USDA's proposed rule on nutrition standards. http://www.iom.edu/Reports/2010/Child-and-Adult-Care-Food-Program-Aligning-Dietary-Guidance-for-All.aspx.
The Dietary Guidelines encourage Americans to eat a healthful diet that helps to achieve and maintain a healthy weight, promote health, and prevent disease. The U.S. Department of Health and Human Services and the USDA have jointly published the Dietary Guidelines every five years since 1980.
U.S. Census Bureau, "Who's Minding the Kids? Child Care Arrangements: Spring 2011," accessed March 10, 2015, http://www.census.gov/prod/2013pubs/p70-135.pdf. Children designated as receiving care each week are cared for on a regular basis, at least once a week. Of the 61 percent of children under 5 years who are in regular child care arrangements, 35 percent were cared for by organized facilities or nonrelatives, such as day care centers, nurseries/preschools, home-based care, or family day care providers.


text:
Organic farmers look ahead at Wisconsin conference
Posted: Mar 2, 2019 6:09 PM CST
LA CROSSE, Wis. (AP) — Farmers from across the country recently gathered in Wisconsin to envision the future of the organic farming industry.
Industry leaders attended discussions about organic farming production, economics, climate change and diversity at the MOSES Organic Farming Conference in La Crosse last month, Wisconsin Public Radio reported.
Industry leaders expect Wisconsin to continue to be a leader in organic farming. With 1,276 organic farms, Wisconsin has the second-highest number of organic farms in the country, trailing just California, according to Pew Research Center data.
"We certainly have the topography and the mindset," said Darin Von Ruden, president of the Wisconsin Farmers Union and owner of an organic dairy farm in Westby. "Vernon County (in southwestern Wisconsin) is one of the largest organic producing counties in the nation and also home of Organic Valley, which is a $1 billion (a year) cooperative. They've built the infrastructure in the state."
Von Ruden said many communities have been showing that they're trying to be more thoughtful about production practices.
"A lot of times that boils down to the organic side," he said.
Organic farming has been growing across the U.S., but the industry still doesn't come close to matching conventional agriculture.
"We need more public and private investment because this movement has been built on the backs of independent farmers and nonprofit organizations who are operating on shoestring budgets for too long," said Molly Rockamann, founding director of EarthDance Organic Farm School near St. Louis.
David Abazs, an organic farmer in northern Minnesota, said organic farming is becoming diversified as more women enter the industry.
"The face (of organic farming) will be changing," Abazs said. "It's going to be diverse and the next generation is coming up and a lot of them are looking toward new ways of doing things. We're in a great transformation in agriculture."
Fond du Lac fire crews quickly extinguish living room apartment fire
West Allis Police Department closes 'Asian Massage' for running prostitution operation


text:
University of Oregon Administration
The Office of Research, Innovation and Graduate Education
Crustal and upper mantle structure beneath the Galapagos arechipelago from seismic tomography
Villagomez Diaz, Darwin R., 1973-
To explain the origin of several distinct aspects of the Galápagos volcanic hotspot, such as the broad geographical extent of recent volcanism and the unusual pattern of geochemical anomalies, we conducted seismic tomography studies of the upper mantle and crust beneath the Galápagos Archipelago. The studies combine measurements of group and phase velocities of surface waves and delay times of body waves. We find that upper mantle seismic velocities are lower than those beneath other regions of comparable age in the Pacific and consistent with an excess temperature of 30 to 150°C and ∼0.5% melt. We attribute the excess temperature and presence of melt to an upwelling thermal mantle plume. Crustal seismic velocity is up to 25% lower than that of very young crust at the East Pacific Rise (EPR) and is comparable to that of Hawaii, which we attribute to heating by increased intrusive activity above the Galápagos plume and the construction of a highly porous volcanic platform. In addition, we find that the Galápagos hotspot is underlain by a high-velocity region whose thickness varies from 40 to 100 km. The tomographic images reveal that the upwelling mantle plume tilts northward (towards the nearby Galápagos Spreading Center) as it rises and then spreads laterally when it reaches the bottom the lid. The lid, which we attribute to residuum from melting, is thickest where it is farthest from the spreading center, suggesting that ridge processes may affect the generation and amount of thinning of the residuum layer. In addition, the thickness of the lid correlates well with the geographical pattern of geochemical anomalies of erupted lavas, suggesting that the lid may control the final depth of decompression melting. We conclude that many of the distinct characteristics of the Galápagos can be attributed to the interaction of the upwelling plume with the lid and the nearby ridge. We further suggest that the ridge affects the geometry of plume upwelling in the upper mantle and also the pattern of lateral spreading of the plume due to its effect on the thickness of the residuum layer. This dissertation includes previously published co-authored material.
xv, 151 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
VillagmezDiaz_Darwin_R_phd2010fa.pdf
View / Open VillagmezDiaz_Darwin_R_phd2010fa.pdf (format: PDF)
Geological Sciences Theses and Dissertations [120]
Theses and Dissertations [3312]


The Lab Technician will support product and process developers to create new products and business opportunities for the Industrial and Specialty Products division. This position will perform sample testing, support development of mimic testing, maintain a laboratory notebook, schedule maintenance of test equipment, and perform other duties to assist in developing new products. The position will require about 10 percent travel time to USS plants and potentially customers to assist in implementing new products. The Lab Technician will report into the Industrial and Specialty Products Technology Director.
Work with product and process developers to develop new test methods or application mimic equipment and procedures.
Must have a minimum of 5 years of industrial experience with preference given to people that have worked in a research and development environment.
Gender and Social Inclusion in Health.
Qualifications at Masters level relevant to specific health focus areas.
Experience working in nominated health focus area in low-resource contexts.


Meredith Park began her career as a special events designer after growing up as the youngest in her family's catering business, the Master's Meals Catering. While learning the many "ins" and "outs" first hand, at the ripe old age of six she was serving coffee like a pro.
Jim has been doing weddings since 1983 and looks to take care of every detail.


With tax season behind us, it's time to put that refund to good use. If you're thinking about buying, now is the time!
If you're expecting a tax refund this year, check out these three ways your refund could bring you closer to homeownership.
The Paul Augustine Team is feeling excited in North Wales, Pennsylvania.
Happy Monday Everyone!!! Check out our newest listing!
Located in Neshaminy Falls, a beautiful 55+ community located in North Wales - this home has been completely renovated, including freshly painted! This community offers a club house, heated pool and much more! Set at a great price point, be sure to schedule your tour before this one is gone!
If you are interested in this home, please call us today at 267-927-0590 or email Paul@TheAugustineTeam.com for more information or to arrange your private tour!


Getting on the property ladder traditionally requires a significant deposit - typically anything from 5% and upwards of the purchase price - which can be very difficult for some people to save for. This scheme allows first time buyers to purchase just part of the property initially, paying rent to a housing association for the remaining share that is not owned initially.
Applicants do not necessarily need to be first time buyers, and can have previously owned a home or rented, either privately or through a council or housing association.
Often cheaper than private rental accommodation, shared ownership mortgages help to make purchasing a home more affordable because you take out a mortgage only for the share you own - typically between 25% and 75%. That means your mortgage deposit is only calculated on your share of the overall purchase price, and not the full purchase price, which is a more manageable amount to save.
Of course, you will still need to budget for the monthly mortgage repayments and also the rental payment to the housing association.
You may find with a shared ownership mortgage that your outgoings are reduced, which means that you could be able to put money aside each month and start saving. Subject to the conditions of your property and the purchase agreement, you may be able to purchase further shares and eventually own the home outright. Known as "staircasing", the cost of your home's shares will depend on the value of your home at the time. When you own the property outright, you're able to sell it on the open market. If you wish to sell before you own 100% of the home, the housing association can find its own buyer.
Our shared ownership mortgages are currently available to all direct applicants in England and Wales.
To apply, please speak to one of our expert Mortgage Consultants, based in Ipswich, on 0330 123 0773 - we're happy to discuss your application over the telephone or, if you'd prefer, we can arrange to meet with you at one of our 9 branches across Suffolk.
In the meantime, you may find it useful to take a look at our mortgage calculator to get an idea of what your monthly payment may be.
To apply for this product visit our Apply and Track section, or give our intermediary sales team a call on 0330 123 1073.
A mortgage of £108,000.00 payable over 25 years initially on a fixed rate until 31/12/2020 at 3.50% and then on our Standard Variable Rate currently at 5.74% for the remainder of the mortgage term would require 27 monthly payments of £540.67, followed by 273 monthly payments of £667.83. The total amount payable would be £197,010.68 made up of the loan amount plus interest (£88,915.68) and a mortgage discharge fee of £95. This example assumes the mortgage funds release fee is added to the loan and that interest is charged on these fees over the mortgage term. The overall cost for comparison is 5.4% APRC representative.
To establish if you/your network is a selected partner, please contact our Intermediary Sales Team on 0330 123 1073.
In the meantime, you may find it useful to look at our mortgage calculator to get an idea of what your monthly payment may be.
A mortgage of £76,00.00 payable over 25 years initially on a fixed rate until 31/03/2021 at 3.75% and then on our Standard Variable Rate currently at 5.74% for the remainder of the mortgage term would require 27 monthly payments of £390.74, followed by 273 monthly payments of £470.90. The total amount payable would be £139,315.68 made up of the loan amount plus interest (£63,105.68), a valuation fee of £115 and a mortgage discharge fee of £95. This example assumes the mortgage funds release fee is added to the loan and that interest is charged on these fees over the mortgage term.
The overall cost for comparison is 5.5% APRC representative.
Available to Intermediary partners, selected partners nationally and all intermediaries based in Suffolk, Norfolk, Essex, Cambridgeshire, Bedfordshire and Hertfordshire. Selected partners include: Sesame (AR), PTFS (AR), Mortgage Intelligence (AR), Mortgage Next (AR), Life & Easy (AR), Intrinsic (AR), L&G Nouveau Members, L&G Nouveau2 Members, L&G (Selected Partners), SimplyBiz Mortgage.
A mortgage of £76,000.00 payable over 25 years on our Standard Variable Rate currently at 5.74% with a discount of 2.24% , giving a current rate payable of 3.50% until 2 years from completion then our Standard Variable Rate for remainder of the mortgage term would require 24 monthly payments of £380.47 followed by 276 monthly payments of £470.82. The total amount payable would be £139,287.60 made up of loan amount plus interest (£63,077.60), a valuation fee of £115 and a mortgage discharge fee of £95. The overall cost for comparison is 5.5% APRC representative.
Find out more about the mortgage packages available from Ipswich Building Society.
You'll buy a share of the property and pay rent on the remaining share you do not own. Gradually you can buy further shares and eventually buy your home, if the lease allows.
We don't use automated credit scoring to assess your suitability, but we do expect a good credit history.
You can over pay by up to 50% with our mortgages and not incur any early repayment charges. See the tabs above to check this and other charges.
We know houses, just like people come in all shapes and sizes and materials! We can consider a range of construction types as well as the 'yet to be built'.


Medium-sized woodpecker. Unique face pattern with a red crown, yellowish forehead and throat, and pale eye. Glossy black overall with a clean white rump and streaked chest. Lives in mixed oak-conifer forests, where they are found in large groups, hoarding acorns in tree trunks and telephone poles, and breeding cooperatively. Listen for their raucous, scratchy "waka-waka" calls. Nests in cavities.


text:
from polyglotdb import CorpusContext

def test_discourse_query(acoustic_config):
    with CorpusContext(acoustic_config) as g:
        q = g.query_discourses().filter(g.discourse.name == 'acoustic_corpus')
        q = q.columns(g.discourse.name.column_name('discourse'))
        results = q.all()
        assert len(results) == 1
        assert results[0]['discourse'] == 'acoustic_corpus'

def test_discourse_speaker_query(acoustic_config):
    with CorpusContext(acoustic_config) as g:
        q = g.query_discourses().filter(g.discourse.name == 'acoustic_corpus')
        q = q.columns(g.discourse.name.column_name('discourse'),
                      g.discourse.speakers.name.column_name('speakers'),
                      g.discourse.speakers.channel.column_name('channels'))
        print(q.cypher())
        results = q.all()
        assert len(results) == 1
        assert results[0]['discourse'] == 'acoustic_corpus'
        assert results[0]['speakers'] == ['unknown']
        assert results[0]['channels'] == [0]

redpajama_set_name: RedPajamaGithub


So I'm sure over the past few weeks, you've noticed some sneak peeks of my gallery wall in my dining room. I Instagramed my printouts a few months ago and I finally got around to photographing the actual finished wall.
All the pieces you see in the gallery were created from old frames and supplies I had lying around the house. Since I already had an accumulation of leftover frames from our previous (much larger) home, I thought it would have been silly to go buy more frames. So instead of buying new artwork, I took out the old photos and replaced them with new art I created myself!
The graphic pieces were designs I created on my computer (in my fancy graphic design programs, Photoshop to be exact) and simply printed them out on my home printer.
This was a wall I left blank for many months. Normally I'm a very impatient designer and want everything to be DONE like yesterday. But I'm trying to learn the art of patience, so I waited. And I waited. And I waited until I figured out what I wanted to do with the wall. I'm SO happy I waited because I really love how it all turned out!
If you like the "You will forever be my always" graphic, you're in luck! Today you are able to download it for free! To download the free printable, click HERE.
Ok now time for some more pretty pictures!
I wasn't quite sure how I wanted the frames arranged on the wall, so I laid them out on the floor to test out a few different options. Once I came up with my favorite arrangement, I began hanging them on the wall.
You might have seen a little sneak peek of my gallery wall last week when I posted about my latest DIY project. If you haven't seen the full tutorial for my DIY "cover up" drum pendant, make sure to check it out HERE!
Blissful Home – My New E-Mag!
Love the graphic feel of the gallery! It looks fantastic!
LOVE this gallery wall! My favorite piece is the big numbers date print. Such a cute idea!
I love this little gallery wall Amy! I like that it all goes together so well and adds so much interest to your space. Come by and link up at The Makers if you get a chance. We'd love to party with you!
I love these graphics! Very talented!
Love it all! Great job and thanks for the free printable!
The prints look fabulous, what a difference to the 'before' photo, the room has come to life. I have a wall in my living area that needs something on it, maybe a group of prints might be a good idea.
This is beautiful! I love the fact that you used frames you already had and gave them new life. What a great way to celebrate your marriage!
Gorgeous! Love the color on the wall…what color and brand is it?
Exactly what kind of spray paint did you use to spray your mats? will any spray paint do?
I just used regular ole spray paint! Very light layers – maybe 2 coats?