text:
The extended accounting format is substantially more extensible than the SunOS legacy system accounting software format (see What is System Accounting? in System Administration Guide: Advanced Administration). Extended accounting permits accounting metrics to be added and removed from the system between releases, and even during system operation.
Both extended accounting and legacy system accounting software can be active on your system at the same time.


text:
Meet Podcasting's New Star: Radio Refugee Adam Carolla
Adam Carolla used to get paid a lot of money to host a morning radio show with a national audience. Now he's spending his own money to produce a podcast for a fraction of his old audience.
Does that sound like progress to you? It should.
That's because Carolla's old gig, which ended in late February when CBS Radio (CBS) pulled the plug on his show, made him just another guy trying unsuccessfully to fill Howard Stern's shoes.
But the comedian's podcasts are something else, and they don't sound like anything else on the radio: Unedited, rambling conversations with a single guest that often sound more like monologues than an actual interview. They're profane, they run an hour or more, and they make me laugh out loud. (You can get a small taste of what they're like via the video clip at the bottom of this post. Be warned: There is a smattering of R-rated language in that one).
I'm not the only one. Carolla has been podcasting every weekday for the past month and a half, and an average show finds an audience of about 400,000 people. His most successful ones have nearly doubled that total.
That's nothing compared to his last radio job, which was broadcast out of Los Angeles and syndicated in a dozen other markets. But in the world of podcasting, that qualifies as an instant hit, and it's enough to keep his show at or near the top of Apple's (AAPL) most popular podcast list at its iTunes store.
The other top podcasts, by the way, are all spinoffs or repackagings of shows made by big media companies–NPR, Time Warner's (TWX) HBO and Discovery Communications (DISCA). But Carolla's show is created from scratch: It's just him and a handful of assistants who help him record the show and upload it to the Web. He started off taping the shows in his house in the Hollywood Hills; now he's moved it to a garage he rents in an unlovely industrial stretch in the San Fernando Valley.
All in all, Carolla estimates he's spending about $3,000 a month to produce the show, primarily on bandwidth bills. Revenue: Zero.
That's primarily because Carolla can't make any money from his show until the end of the year. He's still getting paid–very well–by CBS, and his contract has a noncompete. But it's also because it's unclear how Carolla could actually go about making money from his podcast even if he wanted to.
The basic options: Try to charge his listeners or try to sell advertising. The former hasn't been done before, and the latter hasn't made other podcasters much money so far.
"I think that he's going to have a tough time," says Marc Horine, VP at ESPN Digital Media, who oversees a stable of podcasts that were downloaded about eight million times a month last year. Even at that volume, Horine says, ESPN has only been able to turn that into a "7-figure-plus" business–and that's with a large sales staff and the ESPN brand name.
The problem is that podcasts are still considered "experimental" buys for advertisers. And until podcasts can aggregate bigger audiences–and provide marketers with better ways of tracking their ads' performance–they are probably going to stay that way.
But I'm going to be slightly more optimistic than I usually am on this one: I think that Carolla's profile, combined with a dedicated audience, could convince a handful of advertisers to take a flyer and sponsor the show. That still won't come close to replicating his radio money or the money he'll make if CBS decides to pick up the sitcom he's working on for the network.
But as Carolla notes in the interview below, entertainers don't have any choice but to be on the Web. And figuring out how to make good stuff people like is much harder than figuring out how to make money from it.
Apologies for my stammering and stumbling midway through this interview, by the way: Sounding cogent while you ask questions is a lot harder than it looks.
And here's a sampling of what a Carolla podcast is like: A snippet of his recent podcast with writer Dana Gould. Again, be warned that there's a light dusting of cursing here.

subset: commoncrawl


text:
J.A.M. – Job with Acronym Media
|October 23rd, 2007
|Written by Gyutae Park
Ha, like the acronym? Following the recent Northwestern graduation post is this not-so-recent news regarding my employment status. I know I know, it's been almost 3 months now since this actually happened, but better late than never right?
So a week after I came home to New Jersey from school in Chicago, I landed this sweet job at a search engine marketing agency called Acronym Media, which is rated as a top ten Search Engine Agency by Advertising Age and focuses on "Keyword-Driven Marketing". I was hired as a search engine optimization (SEO) coordinator, which is awesome because this is exactly the type of work I was looking for after starting some of my own web projects in college. If anything, this job will help me to gain a lot of new experiences, skills, and knowledge by working with big corporate clients and experts in the industry. I know I want to start my own Internet venture in the future but this is my springboard to move forward and build a solid foundation. Gotta flip burgers at McDonald's before you know how to operate one, right?
Anyway, the job itself is great. I work at the global headquarters on the 55th floor of the Empire State Building in New York City and commute by train from home in central New Jersey. It's about an hour each way, but it's not so bad considering I'm usually knocked out drooling all over the unlucky person next to me or reading a book I wanted time to go through anyway.
There are a lot of cool benefits at the company as well. Besides the usual health insurance, 401k, nice people, paid vacations, and tax-free transit and parking, we also get birthdays off, free lunch on Thursdays, and a variety of unlimited office snacks. In fact, I've already gained 15 pounds since I started working here by eating like a starving caveman and neglecting my work out routine. I didn't know there was a freshman-15 after college. Living my glory days again…
So there you have it. My first real 9 to 5. (or 6 in this case)Share This
Posted: October 23rd, 2007 under Work-Related.
Comments: 2
2 Comments »
I think it would be a great opportunity for the people who are seeking a good career in this booming industry. They are surely going to rise hight with the boon.
Fresh domestic after instead of throw:


text:
This was published 8 years ago
It's complicated: why our Facebook romance is fading
We're still online but the message is clear: the gloss has come off our relationship with the social-networking behemoth.
"Facebook is driving me nuts," a 21-year-old Sydney student participant complains in one of our recent studies. "So much to keep up with. But you have to be on it," she says with a sigh.
"How else do you get invited to parties?"
That, in a nutshell, describes Facebook 2.0; a new phase in the evolution of the social media behemoth that has radically reshaped how 1 billion of us communicate. After years of enthusiastically voracious usage, Australians are starting to question the role of Facebook in their lives.
A quantitative survey we conducted of 753 Australian Facebook users (selected to represent the general population) tells the story even more succinctly. Thirty-one per cent of Australian Facebook users feel that they spend too much time on the site. This number doubled to 61 per cent among those aged between 18 and 29.
Anyone with a Facebook account could relate to these figures (c'mon, we've all watched the hours spent on Facebook slip by with a pang of guilt at ignoring the kids/washing/work/study/sleep) but what surprised even us was that this feeling of burden was driving users to consider opting out altogether. Forty-three per cent of users have thought about closing their accounts, with slightly more - 47 per cent - of those aged between 18 and 29 admitting to considering disliking Facebook for good.
The message is loud and clear - Australian Facebook users are kind of over it.
Some, such as a law student from Sydney's north shore, have wised up to its insidious hold on our time: "Facebook is the devil; it's an addiction," he says, after admitting he finds himself constantly refreshing his Facebook page via the mobile app, looking for updates almost as an involuntary reflex. "It's just always there. It's just an excuse to get out of work or doing your assignments or something else you don't want to do. Such a time-waster."
To be clear, the numbers on Facebook usage are not dropping. Nielsen measures Facebook usage in Australia and shows that the amount of time we spend on Facebook remains steady. We're still spending loads of time on Facebook day-in day-out (which could be attributed to the rapid rise in smartphone penetration alone - what else are people doing while gazing into their phones on the bus and train?). But consumption tells only part of the story.
The statistics on Facebook usage tell us about, well, only time spent on Facebook. They don't tell us how people feel about this new force in their lives. Usage matters today, absolutely, but how people feel about their usage gives us an indication of how they are likely to behave tomorrow and in future.
Will people abandon Facebook in droves? Not likely. This is probably not the beginning of the end of Facebook. Not by a long shot. But what it is, is confirmation of a new phase in the role Facebook plays in people's lives.
It may cease to be the all-consuming must-have social equivalent to oxygen it is now. Users will likely keep their accounts open to stay in the loop, but they may spend less time on Facebook in the future.
When we asked those who had thought about closing their accounts the main reason they stayed on, the new role of Facebook became abundantly clear. Thirty-nine per cent of those who considered closing their accounts said they stayed on Facebook mainly so old friends and acquaintances could find them. And 19 per cent stayed on because they felt socialising would be difficult without it - indeed, as our 21-year-old student subject put it so well at the beginning of this story - "How else do you get invited to parties?"
Facebook 2.0 then, can be roughly translated to Phonebook 2.0 - Facebook, the new White Pages/calendar of the digital age.
Which means that our attention is there for the taking by other platforms.
As another young uni student put it in one of our research groups last week. "I'm so addicted to Instagram!" she proclaimed to four of her high school buddies sitting around her kitchen table. "I don't check Facebook that much any more but I'm always on Instagram. Love it!" Three of the others quickly nodded in agreement.
Laura Demasi is a writer and social researcher. She is research director at Ipsos Social Research. She is also writing a postgraduate thesis on the social impact of digital media at the University of Sydney.


text:
Bousquet, Marc. "Composition as Management Science: Toward a University without a WPA." JAC 22.3 (2002): 493-526. Print.
Bousquet argues that composition has become complacent in the larger corporate university system, citing scholarship that promotes a "pragmatist" approach to writing program administration and rejects critical theory as "idealist." Bousquet contends that real institutional change is only possible through collective action, and he points to both history and current union movements for better working conditions and pay for graduate students and adjuncts as evidence that change emerges from the action of collective labor, not by individuals, such as "lower management" WPAs. Bousquet's argument relies on a Marxist reading of WPA work and current WPA scholarship, and his argument is a response to Porter et al's Braddock-winning essay about institutional change and critique. Bousquet ultimate argument is that composition (as a field) and composition teachers would be best served if WPAs stepped away from their roles as lower managers, a role in which they support and enact the interests of the managerial university. Bousquet believes that composition should look like other academic disciplines, without a lower-level "manager" (WPA) and with tenure-track faculty lines, not adjunct labor or non-tenure-track instructorships or "parafaculty."
Notable Notes
Central question: has composition/WPA strayed too far? Has it bought into the rhetoric of university management? And central claim: that organized labor and collection action is the only way to change the status quo and problems of composition labor, not WPAs. He imagines a model without a WPA.
Sections of his argument:
The Heroic WPA
- Argues that the field has moved away from critical lenses and "toward institutionally focused pragmatism, toward acceptance of market logic, and toward increasing collaboration with a vocational and technical model of education" (495-496).
- Defines the "heroic WPA" as a new figure in the field, connects it to Marx's "'special kind of wage-laborer,'" "the members of the working class whose particular labor is to directly administer the labor of other members of their class at the frontline of the extraction of surplus value" (498).
- Labels WPAs as "lower management," who have as much in common with workers (or more) than they do with the higher class that they might identify with. Lower management historically has not made changes: "Lower management is particularly vulnerable, highly individuated, and easily replaced" (497). Lower management often is not tracked to upper management advancement.
- Argues that when someone becomes a member of the lower management, their class does not change (still a member of the labor class), but their loyalties change. (498)
- Asks who the term "compositionist" (or "we") refers to – the teachers? The WPAs? Those who teach or those who supervise/theorize? The field writ large? Who does it represent? (499)
- Ties the emergence of the comp/rhet discipline to shifting structure in undergrad institution in the 1970s: more students with less TT faculty.
The Intricate Evasions of As: How to Be One of the Gang
- composition is trying to be "one of the gang" in the academic institution, a respected discipline. So there's two layered legitimacy crises in comp: one among adjunct labor, the other around WPAs/compositionists (502)
- WPAs/composition have accepted the realities of the corporate university instead of contending them. One example he gives is FT NTT lines, which Bousquet argues is a way to get around tenure and to assert more "managerial control" over composition teaching faculty (505) – he thinkis is a step backwards to remove tenure, not a step forward. Asks why this is happening primarily in comp, not in other fields (lit?) (506-507).
- WPAs (lower management) do not have a good track record for changing the working conditions of adjunct composition faculty. Unions and collective action do have a good track record for this. (507).
- WPAs are more vulnerable to academic capitalism, market logic than faculty, who can resist it to some extent (508).
The Hidden Idealism of Managerial 'Materialism'
- One piece of evidence he cites as comp/rhet and WPA's acceptance of managerialism and the corporate university is the emergence of "pragmatism" in WPA scholarship (509), of rejecting "ideals" for "realities" (509).
- The pragmatist/movement point of view critiques the critical point of view for being "idealist," but pragmatists are their own breed of idealists, accepting a managerial point of view. (511)
- Asks why collective action, rhetoric of change by those disenfranchised, is being challenged in the academy (513)? Why has composition accepted pragmatism? Why aren't we more skeptical? (515)
Toward a New Class Consciousness in Composition: Writing without a WPA
- argues against the possibility of joining WPA and teacher interests, it's impossible to combine the interests of management and labor. Sees such rhetoric as undermining collective bargaining
- why haven't we made composition real, tenure-track faculty?
- Argues that WPAs should "shed" their identity as lower management – their role to "control" or administer or supervise – and to join again with their faculty.
Quotable Quotes
"Despite the evident sincerity of this line of inquiry [Porter et al, Harris, Miller, Murphy, Grimm], I'm profoundly unconvinced that a management theory of agency and what I call the rhetoric of "pleasing the prince" is particularly useful-much less necessary-to the project of transforming institutions. I prefer instead a labor theory of agency and a rhetoric of solidarity, aimed at constituting, nurturing, and empowering collective action by persons in groups." (494).
"In this context, the 'heroism' of the heroic WPA consists precisely in his or her capacity to represent the interests of the ruling class as the interests of the workers (teachers and students) in their charge" (499).
"Understanding this intimacy as a structural relationship requires careful examination of the possibility that the heroic narrative of disciplinary "success" for professional and managerial compositionists has depended in part on the continuing failure of the labor struggle." (499)
"Clearly, the emergence of rhetoric and composition into some form of (marginal) respectability and (institutional-bureaucratic) validity has a great deal to do with its usefulness to upper management in its legitimating the practice of deploying a revolving labor force of graduate employees and other contingent teachers to teach writing. The discipline's enormous usefulness to academic capitalism-in delivering cheap teaching, training a supervisory class for the cheap teachers, and producing a group of intellectuals who theorize and legitimate this scene of managed labor-has to be given at least as much credit in this expansion as the heroic efforts that Porter and his coauthors call the WP A's "strong track record for enacting change" (614)" (500).
"In my view, the problem of composition labor's felt exteriority to the gang of professors cannot be separated from the problem of composition management's felt exteriority to the gang of disciplines: the two structures of feeling are inseparably related along the "degree zero" of the material specificity of composition work-which is to say, work conducted in the scene of managed para-faculty labor." (502)
"Professional composition, in my view, will never feel like "one of the gang" of disciplines until its labor patterns are more like those in other fields. (Of course, this equivalence could easily come about by the frightening but very real possibility-evidenced by clear statistical trends-that labor patterns in other disciplines will become more like those in composition, rather than the other way around.) To put it in blunt terms, so long as composition's discourse remains a management science– or, alternatively, until history, engineering, and philosophy are management sciences to the same extent-it is likely to fail to enjoy the status it seeks: the status of a discipline among peers." (502-503).
Contends that WPAs have less power than they think: "However, whether they do so logically, intuitively, or from the experience of essaying numerous "rhetorical strategies" with disappointing results, most also understand that there is little they can do about the labor system, either as individuals or as administrators. Indeed, perhaps the most important realization of the administrative subjectivity is that "having" administrative power is to be subject to administrative imperatives-that is, to be individually powerless before a version of "necessity" originating from some other source." (507-508).
"The installation of managerialism as the core subjectivity of the discipline of rhetoric and composition is therefore not so much an indicator of the field's "success" as evidence of its particular susceptibility, the very terms of its intellectual evolution intertwined with the university's accelerated move toward corporate partnership, executive control, and acceptance of profitability and accumulation as values in decision making." (508).
"Pragmatist idealizations of the market conceal the human agency in the creation and maintenance of markets" (510) – the idea that people created these economies and institutions, deliberately choosing market/corporate/private sectors over public
"In all of these and most responsible materialist accounts, human agency drives history. But in the pragmatist-managerial version of materialism, collective human agencies are conspicuously absent." (511)
"In holding our gaze on the managerialism of composition discourse, we ultimately need to ask, cui bono? Who benefits?" (513).
"Furthermore, what a large sector of composition labor (graduate employees and former graduate employees working off the tenure track) "really wants" is not to be treated as colleagues, but instead to be colleagues. Nearly every participant in the composition conversation would like to see writing instructors become "more like" faculty – to have the chance to govern, enjoy an intellectual life, develop as an instructor, and enjoy better pay, benefits, protections, and security. But this hasn't translated into a consensus among professional and managerial compositionists that writing instructors should actually be faculty. Why not? Isn't composition work faculty work? Or is composition's "faculty work" the supervision of parafaculty? " (516).
Argues for a "new class consciousness" in composition that is grounded in "movement unionism" that unites all faculty "on the common experience of selling one's labor in order to live and on the desire – widespread in the academy, but also common in many sectors of service work – to "be productive" for society rather than capital" (517).
"…perhaps the professional and managerial compositionist can likewise shed the desire for control and embrace the reality of collective agency. Are we so sure after all that what the professional compositionist "really wants" is "more control" over people he or she must creatively "treat as colleagues"? Perhaps what the professional compositionist really wants is to lay down the "requirement" to serve as WPA instead and to become a colleague among colleagues." (517-518).
"In order to realize the scene of lower management learning to practice "institutional critique" and the "arts of solidarity" from labor, we will eventually have to reconsider the limits to thought imposed by pragmatism and to learn once again to question the "inevitability" of the scene of managed labor to composition. In my view, composition's best chance to contribute to a better world and to achieve disciplinary status depend on learning to write as colleagues among colleagues-a condition predicated on working toward a university without a WPA." (518).


text:
- Length: 65:41 minutes (45.14 MB)
- Format: MP3 Mono 44kHz 96Kbps (CBR)
Press Release
Geek of the Week links
alicebarr (SEEDlings) -> Hi Shelly!
bobsprankle -> Hi Shelly!
cheryloakes50 -> Getting things ready! Be here soon
cheryloakes50 -> http://www.maine.gov/education/toy/index.html
cheryloakes50 -> Hi Connect2jamie, welcome
bobsprankle -> hi jamie!
connect2jamie -> Good evening all!
cheryloakes50 -> Evening Peggy, seems to be all good
cheryloakes50 -> Hello Cathy E
alicebarr (SEEDlings) -> Welcome Everyone
PeggyG -> very excited to meet the Maine Teacher of the Year :-)
connect2jamie -> very cool!
cheryloakes50 -> Thanks Peggy, this is going to be fun.
bobsprankle -> hi peggy!!
connect2jamie -> That's one of the BEST things about being a librarian. I get to keep all my kids for 6 yrs!
PeggyG -> Hi everyone! so glad everything is working :-) audio is very clear
cheryloakes50 -> Oh, that is so nice, you really see the developing child.
cheryloakes50 -> Thanks Peg for helping out.
connect2jamie -> @cheryl yes I LOVE that.
PeggyG -> Hall of Flags :-) something new to me
cheryloakes50 -> That is our state house, and the nominees have like a poster session.
alicebarr (SEEDlings) -> At the State House
cheryloakes50 -> All the legislature passes by.
PeggyG -> great idea!
PeggyG -> do the legislators actually show up? :-)
cheryloakes50 -> They have to walk by :-)
PeggyG -> we did something like that in AZ and set it up right on their path to lunch :-) they didn't stay long but we planned some interactive things on the posters to try to hook them
PeggyG -> what a wonderful opportunity!
PeggyG -> what a great quote! you couldn't do this without us :-)
cheryloakes50 -> Isn't that great! The kids get it.
PeggyG -> like that description--lulls and great tidal waves :-)
alicebarr (SEEDlings) -> Our State is so huge
cheryloakes50 -> evening shelia!
alicebarr (SEEDlings) -> Hi Sheila
sheila -> Hi there!
PeggyG -> I definitely agree with that recommendation! Any of the nominees would be exemplary teachers who could speak to pre-service teachers
cheryloakes50 -> Doesn't that make sense to spread those speakers around!
alicebarr (SEEDlings) -> I love that idea... such good models
PeggyG -> do they teach the "Teacher of the Year" about strategies for advocating for education with legislators?
cheryloakes50 -> Bring our student faces to the message of education.
PeggyG -> I heard one of Steve Hargadon's guests say that he didn't believe teachers were being bashed and my mouth fell open!!
alicebarr (SEEDlings) -> Really?? Wow Peggy
cheryloakes50 -> Hm, interesting perspective.
PeggyG -> he was a very well known researcher and author for educational research
cheryloakes50 -> We are still a ripple.
cheryloakes50 -> in the big pond.
PeggyG -> that's why it's so important to learn effective strategies for advocacy
cheryloakes50 -> And marketing! We need to learn how to market our product, our students.
PeggyG -> yes! the news wants to focus on the negative news about teachers and students
cheryloakes50 -> Yes, I like NBC with their positive new bites.
PeggyG -> even when we create great PR with videos, stories, etc. it's hard to get them air time
cheryloakes50 -> Yes, and then who is watching the public access channel. We need to play a a video at the grocery store or the restaurants!
Shelly Moody -> Any PR we put out to the public will plant seeds of thought.
PeggyG -> or in the laundromats where people are waiting for their laundry to finish :-)
cheryloakes50 -> yes! Peggy, great idea. We need to think out of the box.
sheila -> We are talking about a neighborhood campaign. Bring the facts to our neighbors.
cheryloakes50 -> Hi Janice, welcome!!
Janice S -> Thanks. Glad to be here.
alicebarr (SEEDlings) -> Sheila, great idea!
PeggyG -> great idea Sheila because there are so many people (who vote) who don't have kids in schools
PeggyG -> I always love the "Principal of the Day" program we had in AZ because it brought prominent community leaders into the school for a day to see all of the great things happening
cheryloakes50 -> I agree Shelly, put the student face out there.
PeggyG -> I had a great day with a President of a local bank in Phoenix! He became a strong advocate for schools/teachers
connect2jamie -> I agree with you Bob.
cheryloakes50 -> Yes, Peggy, that is making connections.
PeggyG -> they begin to understand how much work it is to be a teacher and there are passionate, dedicated teachers who don't trample the kids on the way out the door at the end of the day
sheila -> I saw a flyer at a restaurant in my hometown called "Great Schools and Great Towns Go Hand in Hand!) Very quick easy read.
PeggyG -> great quote Sheila!
cheryloakes50 -> Shelia, that is good.
Janice S -> I heard about your new governer in Maine on NPR today - kind of against unions. Probably an atmosphere to fear.
sheila -> Good point! Back to passion.
PeggyG -> so sorry but I can't stay for the whole session-I'll look forward to listening to the rest on the recording. Fantastic guest! Congrats Shelly!
alicebarr (SEEDlings) -> Bye Peggy! Thanks for coming
alicebarr (SEEDlings) -> Hi Deb
Deb Barrows -> Hello!
bobsprankle -> deb!!!
Deb Barrows -> Sorry to be late
Deb Barrows -> but glad to be here.
cheryloakes50 -> Hi Deb!
cheryloakes50 -> You get a pass for being late today.
Deb Barrows -> HAHA
Deb Barrows -> We are doing so many innovative things in Maine compared to most of the rest of the US but we take it for granted.
Deb Barrows -> So it's hard to celebrate greatness when it's the norm.
cheryloakes50 -> Deb, isn't that the truth, but we always are raising the bar
Deb Barrows -> Yes we are in Maine.
cheryloakes50 -> http://www.ted.com/talks/browse
cheryloakes50 -> Did you all see Google today, Houdini
Deb Barrows -> I love watching the TED talks.
Deb Barrows -> Yes, Cheryl I did. I was helping someone and they said - that's not the Google I use!
cheryloakes50 -> hee hee
sheila -> @Cheryl - no he disappeared for me! ;) Houdini
Deb Barrows -> Bob - do you know anyone who has presented on TED?
cheryloakes50 -> *)
Deb Barrows -> HAHA - he didn't disappear on my screen - how cool.
sheila -> Kidding!
cheryloakes50 -> http://www.ted.com/talks/lang/eng/adora_svitak.html what adults can learn from kids
Deb Barrows -> That's great Bob - Redmond is an exciting place - that's where Crick had it's headquaters.
Janice S -> I saw your daughter's presentation and song. She was wonderful!
bobsprankle -> cool, deb!
Janice S -> On the web.
bobsprankle -> we were on Microsoft campus
Deb Barrows -> It's pretty amazing isn't it Bob?
bobsprankle -> yes!!
connect2jamie -> I saw your daughter too Bob. I felt proud of her! Like an internet-auntie! :)
cheryloakes50 -> connect2jamie, that is so cute! internet auntie
connect2jamie -> heehee! I did!
bobsprankle -> that
bobsprankle -> that
bobsprankle -> that's wonderful jamie
bobsprankle -> <sorry for the stutter>
connect2jamie -> LOL!
Deb Barrows -> I was working in a Middle and HS Monday in Carmel, CA. I couldn't believe the bell ran every 42 minutes and everyone moved. I totally forgot about that false envirnment. We need a HS to total redesign their day all based on interest with not more than 3 adults a day.
cheryloakes50 -> Yes, Deb.!!! Hear, hear!
Deb Barrows -> We don't need years of research either.
cheryloakes50 -> That is right, we can do this now.
Deb Barrows -> So, create an alternative school in your HS -
Deb Barrows -> Anyone can apply
cheryloakes50 -> what do you mean anyone can apply? Deb.
cheryloakes50 -> Create a school in a school!
Janice S -> I think a SMARTboard works best when just in one classroom. Shared doesn't work as well.
Deb Barrows -> Yes a school in a school and it doesn't have to be just Sp. Ed.
cheryloakes50 -> Yes, Deb. school in a school is a good fiscally responsive way to go. Janice, it is like sharing a camera, you never have it when you need it.
Janice S -> Agreed.
Janice S -> And now you can save it!
cheryloakes50 -> yes
sheila -> My students really like the clickers too! I give 5 questions frequently during the week. Keeps them focused on content and more engaged.
cheryloakes50 -> All these positive changes, are great!
sheila -> A pain to create beforehand but well worth it.
sheila -> Ebay - never thought of that!
Janice S -> Wonder where the seller got them. :)
Janice S -> looking on ebay. Suprised by the variety of clickers available.
sheila -> http://www.maine.gov/education/toy/index.html
sheila -> Absolutely!
cheryloakes50 -> http://www.maine.gov/education/toy/toy2011/index.html the page with Shelly and we have to brag, Alice Barr as a semifinalist.
Janice S -> Congrats to both of you!
sheila -> Oh, congrats Alice!
Janice S -> Thanks for a great show. Fun to listen live. I need to leave.
cheryloakes50 -> Shelly loves these online sites, Tumblebooks an online subscription
alicebarr (SEEDlings) -> http://tumblebooks.com/
cheryloakes50 -> Reading A-Z!
alicebarr (SEEDlings) -> http://www.readinga-z.com/
cheryloakes50 -> me2011toy.wikispaces.com
cheryloakes50 -> http://www.sylvandellpublishing.com/eBooks/reader/book/Panda/?lang=en
Deb Barrows -> Very cool
Shelly Moody -> Great recommendation! I will be checking this site out with my students!
Deb Barrows -> Self disclosure - all A-Z books have been converted to Kurzweil 3000 format so if have access to K3000 your student can log in and read the book.
cheryloakes50 -> cheryloakes.com/ blog about students and their hike in the Maine Winter Woods
alicebarr (SEEDlings) -> http://diipo.com/and http://edudemic.com/2011/02/diipo-beta/
Deb Barrows -> Cheryl - I so admire you for doing that with students!
cheryloakes50 -> Deb, you would have loved it, they were all smiles even trudging up hill for 2 hours.
Deb Barrows -> You can get a free 30 day A-Z access to try it out.
cheryloakes50 -> They told me today, next year when we go, just tell the kids it is only a 10 min. walk, let them be surprised!
alicebarr (SEEDlings) -> https://sites.google.com/a/yarmouthschools.org/march-18-google-day/home
Deb Barrows -> HAHAHA
cheryloakes50 -> Check out Alice' s link for her google day!
bobsprankle -> http://www.huffingtonpost.com/2011/03/24/lol-omg-oxford-english-dictiona...
connect2jamie -> Oh wow Alice! That looks like quite a day!
connect2jamie -> K-12 teachers all together?
Deb Barrows -> Wow - it's so great how you include students in all your trainings. I wish more teachers did that.
cheryloakes50 -> Yes, connectjamie it was the whole school
bobsprankle -> http://www.khanacademy.org/
alicebarr (SEEDlings) -> Yes K-12 and support staff.
alicebarr (SEEDlings) -> Students really help us learn!
alicebarr (SEEDlings) -> @Jamie Thanks! It was great!
cheryloakes50 -> Thanks to Shelly for being our guest. Thanks to the chat room!!
connect2jamie -> wow! We're in such a huge district that I can't imagine that. I was just thinking today that the culture in a MS or HS is sooo different than that of an elementary school. I've worked in all 3. I think it might be a good thing for us to do some more "together" things with all levels so that we have more of an understanding of other schools in our district.
cheryloakes50 -> yes, connect2jamie
connect2jamie -> So your google day looks very interesting.
connect2jamie -> Thank you Shelly! Congrats! It was great to hear about you!
cheryloakes50 -> This will be a podcast in the morning!!
bobsprankle -> thank you all!
sheila -> Great discussion! Thanks so much!
connect2jamie -> Always a great way to spend a Thursday evening, Maine tweeps!
Shelly Moody -> Thank you so much for the invitation and conversation!
bobsprankle -> take care all!
cheryloakes50 -> Night!!
connect2jamie -> night!
ds -> Hi all


text:
At present, Greenville might rank fairly low on the hierarchy of prime Jersey City neighborhoods. Not that long ago, however, a Greenville address enjoyed a much better reputation than it does today. Although never a truly prestigious district, the neighborhood was considered desirable for its stability, prosperity, and quality of life. Built up primarily during the first quarter of the twentieth century, Greenville was characterized by quiet, shady streets lined with relatively new and comfortable dwellings. Greenville homes generally had more up-to-date plumbing, electrical, and heating systems that were not standard in some of the older parts of the city. Most residents took advantage of the area's extensive public transportation network, but some properties were already being equipped with small driveways and backyard garages to accommodate a private automobile. With pleasant neighborhoods, numerous churches and schools, convenient shopping streets, and an easy commute to a variety of workplaces, Greenville became a place where working families wanted to move.
The transformation of the Greenville area from farmland to a mostly residential, fairly prosperous urban neighborhood follows a pattern that was repeated in many American cities during the late nineteenth and early twentieth centuries. Greenville's history of speculative real estate initiatives and its changing political associations over time were largely driven by three factors: successive improvements in transportation technology, an expanding industrial economy, and the rapid influx of new residents largely of immigrant origins.
Early Settlement
The southern portion of Jersey City was not always called Greenville. Local histories report that the Lenape Indians called the place Pamrapo or Mingakwe. Archaeological excavations along the New York Bay shoreline indicate that Lenape Indians visited the area on a seasonal basis, gathering and preserving shellfish for use later in the year. References to Minkakwe (spelled in various ways) appear in seventeenth and eighteenth century legal documents such as as property transfers and marriage records. Unlike many communities in New York and New Jersey that have retained the place names originally bestowed by their Native American inhabitants, today only the name of Pamrapo Avenue remains as a legacy of Lenape heritage in Greenville.
For over two hundred years, Bergen Township was the official designation for most of what is now Hudson County, NJ. At that time, the area that is now Greenville did not have any unique geographic identity apart from the larger community. During the seventeenth and eighteenth centuries, Dutch colonists established numerous farms throughout the peninsula, often far away from the core settlement at Bergen Village (modern day Academy Street and Bergen Avenue). Some of these farms were located in what later became known as Greenville – the areas just south of the Communipaw village, at Caven Point, and at other advantageous spots along the western shoreline of the upper New York Bay. Although they didn't dwell in the compact village to the north, the families living in this area attended the Dutch Reformed church services at the Old Bergen Church and identified themselves as residents of Bergen.
The houses of these early settlers, such as Retirement Hall and Hancock House, were situated close to New York Bay for easy access by boat to neighboring farmsteads and to New York City. Further inland were pastures, woodlands, and outlying fields. Original land grants, deeds, and patents reveal that the land holdings of the colonists and their descendants consisted of narrow strips of property extending from the New York Bay shoreline up the hill and over to the Newark Bay. Later on, as the street grid was laid down for the Greenville area, the city blocks were surveyed within the the boundaries of the old farms, in many instances preserving the lines and orientations of the earlier property divisions. The main north-south thoroughfare in Bergen Township followed the route of what is today Bergen Avenue. At the time, it was merely an unpaved dirt road which followed a meandering route determined largely by local topography. Old Bergen Road, between McAdoo Avenue and Merritt Street in today's Greenville section, preserves a segment of this colonial era road which once ran the entire length of the peninsula.
At some point, the farms just south of Caven Point came to be called "Celeryville." Perhaps the soil and climate conditions were particularly good for growing celery. Anecdotal references to Celeryville recall the growing of celery, cabbage, radishes and other garden variety farming through the early nineteenth century. Jersey City historian Owen Grundy describes the area in the early 19th century as "largely settled by German families, who were farmers and fisherman at a time when oyster beds abounded in New York Bay" (39). Possibly, these early immigrants found a niche among the descendants of the Dutch colonists with whom they may have shared a similar way of life. In any case, the rapidly growing population of New York City generated a strong demand for the fresh and easily marketable agricultural produce of surrounding farming communities in places like Celeryville.
Changing Political Association and Independent Status
The history of Greenville as an independent municipality is part of the larger story of the evolving civil and administrative boundaries in Hudson County and Jersey City. The common theme in this history is the transformation of the two hundred year old agricultural township of Bergen into the nine contemporary cities that make up Hudson County east of the Hackensack River. The period between 1804 and 1869 was a time of fragmentation as new urban settlements broke away from the older agricultural community. Old Jersey City (Paulus Hook) became independent in 1838, Hudson City was formed in 1855 while the settlements of Bergen Square, Communipaw, present-day Lafayette, Claremont and Greenville were re-chartered by the state as a new Town of Bergen. It had a population of 4,972. The town, under a council of five members, however, had little authority hindering growth and future development, and West Hoboken and Union Township (now known as Union City and West New York) along with Bayonne became separate towns in 1861. Nearby Bayonne Township, on the other hand, moved to the next level and was incorporated as the City of Bayonne in 1869.
The growth and expansion of Old Jersey City (the Paulus Hook area) was set in motion during the early 1830's. Regular steam-powered ferryboat service between and lower Manhattan encouraged wealthy businessmen to work in New York and live in New Jersey. Able to privately afford the horse and carriage transportation necessary to reach the ferry in old Jersey City, some of these early commuters began to build large homes set among the older working farms of Celeryville. The small country estates built along the Bergen Point Plank Road (Garfield Avenue) enjoyed sweeping views of Manhattan and the entire Upper New York Bay. By 1853, Greenville appears in a advertisement for property for sale in the New York Times.
The success of an independent Bayonne may have given impetus for landowners, real estate developers and businessmen of Greenville to found and promote separate township status apart from the Town of Bergen. Greenville as a separate political entity had much to offer. There were woodlands, green fields, and scattered farms available for future development; it already had a mixed population settlers of Irish, German, English, Dutch and African descent.
With approval from the New Jersey Legislature, the independent Township of Greenville was created on March 18, 1863. It retained the former boundaries as outlined in its charter: "That part of the Township of Bergen, formerly known as Washington School District No. Three, bounded on the east by the New York Harbor, on the south by the Morris Canal, on the west by Newark Bay and on the north by a lane or road known as Myrtle Avenue." With the expansion of the Central Railroad of New Jersey (CRRNJ) to Jersey City, Grundy casts the Township of Greenville as a "suburb" in the developing transportation hub for New Jersey and New York. Streets were named after trees; Danforth and Cator avenues, for example, were called Chestnut and Maple streets.
The first Township Committee of Greenville was composed of five members, John Wauters, Henry Van Nostrand, Peter Rowe, James Currie and George Vreeland, Sr. The members of the township committee were mostly landowners with a vested interested in the future of the area. George Vreeland (1816-1905) of 270 Garfield Avenue, for example, was a descendant of George Vreeland who in 1647 "received from the Dutch government a grant of land along the shore front, extending from Communipaw to what is now known as Constable Hook, Bayonne" (New York Times 16 July 1905). The family helped found the Dutch Reformed Church (now Bergen Reformed Church). They retained their land grant for farming and fishing until 1850 when it and their home was given up to the encroaching freight terminals of the Lehigh Valley and Pennsylvania Railroads.
James Currie was another of these local landowners. Woodlands at the southeast corner of Greenville were owned by James Currie. Scottish immigrant ____ Thompson of New York, uncle of James Currie who purchased property that became Curries Woods, tried to prevent the Morris Canal from cutting his property in half. He died in 1841. The extensive landholding, which became synonymous with its owner, ran approximately from City Line between Greenville and Bayonne to Newark Bay and north to the vicinity of Neptune Avenue. Currie estate was at Lower New York Bay, east of the Jersey Central Railroad tracks. The configuration at Fiddler's Elbow, taking water to the Hudson River basin, provided an ideal location for the Greene Street Boat Club. The bucolic woods were used by local residents for recreation that included picnics and swimming in the shores of Newark Bay or the canal in the summer or ice skating in the winter when the canal froze in the winter
In 1869, an opportunity emerged to reverse the trend of political fragmentation and legally re-combine the smaller towns of Hudson County into a single large city. However, public opinion throughout the county was not unanimous about the benefits of such a move. Greenville was among several communities in Hudson County that voted against consolidation. However, the residents of the Town of Bergen, Hudson City, and Jersey City all voted in favor of consolidation. Since these towns were geographically adjacent to each other, there were no impediments to their unification. By 1870, these three towns were joined together as a "greater Jersey City." Conflicts among the different interest groups in each of the now consolidated towns were resolved with a new charter granted by the New Jersey Legislature in 1871.
The Township of Greenville lasted only ten years as an independent municipality. During that time it had neither a mayor nor a Town Hall and held its committee meetings at rented venues. The committee had to address the challenges of requests for public services that residents of the day expected. Demands for street paving, schools and utilities were complicated by changes in the Town Committee membership, growing costs and assessments for the street upgrades, and awarding of contracts—problems attendant to community building. The Civil War years also curtailed township development as resources for the conflict took primacy in the public interest.
In 1873, the township of Greenville with a population of approximately 5,000 held a referendum to merge with Jersey City; residents voted 261-to-45 in favor of joining the recently consolidated City of Jersey City that also included the City of Bergen and the City of Hudson since 1870. Recurring debt problems and persistent sewer problems prompted the voters to forfeit autonomy and merge with the nearby municipality. The Panic of 1873 affecting the national economy may have also led the voters to believe that they could not address its fiscal responsibilities as an independent entity. And Greenville decided to return to rejoin Jersey City under its new charter granted by the state legislature in 1871.
Grundy, J. Owen. The History of Jersey City, 1609-1976. Jersey City, NJ: Progress Printing Co., Inc. 1976.
McLean, Alexander. The History of Jersey City, N.J. Jersey City, NJ: F.T. Smiley and Co., 1895.
Winfield, Charles H. History of the County of Hudson, New Jersey. New York: Kennard & Hay Printing Company, 1874.


text:
Phone: 360-825-2061
Fax: 360-825-4692
CONTACT: Manager JENNIFER COCHRAN
Have you ever wondered if the vaccinations your pet receives are really needed? Although getting your pet into the car for the drive to the veterinarian's office isn't always easy, skipping vaccinations can have a serious impact on your pet's health.
Why Are Vaccines Important?
Vaccines not only prevent your pet from catching infectious diseases, but also offer other important benefits, including:
What Do Vaccines Do?
Antigens, substances that trigger the production of antibodies, are contained in vaccines. Antibodies identify foreign bacteria and viruses and react quickly, killing the invading organisms before they can cause disease symptoms.
What About Side Effects?
Inspired by the backlash against vaccines for children, some pet owners have decided to opt out of vaccinating their dogs and cats. Many people who don't vaccinate their dogs or cats express concerns about possible side effects. New York Magazine reported on the issue in its February 2015 edition, noting that widespread vaccine avoidance can trigger outbreaks of diseases that were once thought to be under control, such as distemper.
Distemper affects the nervous, respiratory and gastrointestinal symptoms of dogs. Dogs affected by the disease may have high fevers, watery eyes, hardened foot pads, coughing, vomiting, seizures and paralysis. The death rate for distemper is high. If a dog doesn't die from the disease, he or she may have lasting nervous system damage.
The distemper vaccine offers a simple way to prevent death and suffering. All vaccines may cause side effects, but side effects are usually mild, don't last long and don't affect every dog. Common vaccine side effects include fever, appetite loss, lethargy, vomiting, diarrhea or hives.
Before your pet receives a vaccination, his or her veterinarian will perform a thorough examination and may even recommend a few tests to ensure that your pet is healthy enough to receive the vaccine. The veterinarian may also recommend checking his or her immunity level before offering a vaccine.
What Vaccines Are Needed?
Your pet will probably need a combination of core and non-core vaccines. Core vaccines are vaccines that every pet should have, while non-core vaccines may be recommended based on the area of the country in which you live and your dog or cat's potential exposure to various diseases.
Core vaccines for dogs include rabies, canine distemper, parvovirus and canine hepatitis, while non-core vaccines may include Lyme disease, parainfluenza, bordetella or leptospirosis. Rabies and feline distemper are core vaccines for cats, in addition to calicivirus and feline herpesvirus. Non-core vaccines for cats include feline leukemia and bordetella.
All pets don't receive the same vaccines. Factors that affect which vaccines are offered include your pet's age, health, habits, lifestyle, vaccination history and potential risk of contracting certain diseases. Puppies and kittens receive a series of vaccinations to bolster their immune systems, while older animals may only need vaccinations every one to three years, depending on the vaccine type, their immunity and local regulations and recommendations.
Even if your pet requires several vaccinations, he or she won't usually need to endure multiple shots. Many vaccines can be combined to make the injection process as easy as possible. Some vaccines are also available in liquid form.
Keep your pets and your family safe by vaccinating your dogs and cats. Call us today to schedule an appointment.
American Veterinary Medical Association: Vaccinations
ASPCA: Vaccinations for Your Pet
New York Magazine: Is the Anti-Vaccination Movement Spreading to Pet Owners?, 2/4/15
WebMD: Pet Vaccines: Schedules for Cats and Dogs, 2016
https://my.vetmatrixbase.com/countryanimal.com © Copyright 2020 Country Animal Hospital, All Rights Reserved


text:
Uggla believes 50-game ban not enough for PED users
Braves second baseman wants to see year-round testing for human growth hormone
WASHINGTON -- Dan Uggla believes Major League Baseball's drug-testing policies have made for a more level playing field. But the Braves' second baseman believes the only way to truly rid the game of performance-enhancing drugs is to make human growth hormone testing a year-round process and to issue lifetime bans to any player who tests positive for steroids or HGH.
"If you give somebody one chance to mess up and he takes that chance and messes up and the next thing you know he's done from baseball, then a lot of guys are going to think twice about it," Uggla said. "The guys that still think it's worth the risk, they'll get caught and be done. We won't have to worry about it anymore. The first offense now is obviously not enough.
"The game is still not going to be clean until there is year-round testing with blood work for everything and HGH as well. There is still a lot of HGH going around."
The testing policy was a hot topic on Monday, when MLB suspended 13 players as a result of the league's Biogenesis investigation. Yankees third baseman Alex Rodriguez received the stiffest penalty -- a 211-game ban without pay through the end of the 2014 regular season. Rodriguez, 38, has appealed the suspension, which is to begin Thursday. His case will be heard by arbitrator Fredric Horowitz. Rodriguez's discipline, MLB said in its written announcement, is based on his use and possession of numerous forms of prohibited performance-enhancing substances, including testosterone and human growth hormone, over the course of multiple years. Rodriguez's discipline under the Basic Agreement is for attempting to cover up his violations of the program by engaging in a course of conduct intended to "obstruct and frustrate" the investigation.
The other players who were handed 50-game suspensions include Rangers outfielder Nelson Cruz, Tigers shortstop Jhonny Peralta, Mariners catcher Jesus Montero, Padres shortstop Everth Cabrera, Yankees catcher Francisco Cervelli, Phillies reliever Antonio Bastardo and recently demoted Mets utility man Jordany Valdespin. Minor Leaguers Fernando Martinez, Jordan Norberto, Fautino de los Santos, Cesar Puello and Sergio Escalona were also suspended.
"We all knew this day was coming," Braves third baseman Chris Johnson said. "We're all glad that it's happened. If there are guys that have cheated and Major League Baseball thinks they legit cheated the game, they need to be suspended. I think it's a great thing. Those guys made mistakes. They're going to serve their penalty and hopefully the game is better for it in the long run."
Uggla is among the Braves players who believe issuing a 50-game suspension for first-time offenders is not enough of a deterrent. After being suspended at the end of last year, former Braves outfielder Melky Cabrera landed a two-year, $16 million contract with the Blue Jays this year.
"I don't think the people that are taking a risk really care about it," Uggla said. "They're like, 'Oh, what is 50 games?' The risk-reward, the reward is way better than the penalty of the 50-game suspension."
Uggla and Braves player representative Brandon Beachy both agreed that simply testing players for HGH during Spring Training provides opportunities for players to beat the system.
"It needs to happen more often," Beachy said. "There are guys that are going to be tested just one time and it's in Spring Training and they know it. We obviously don't want to walk through the door and have our finger pricked every day. But we all want a clean game and a level playing field. Guys are willing to make some sacrifices to get there."


text:
This is the centenary year of the birth of John Fitzgerald Kennedy, the 35th president of the United States.
Thirty-eight days into his presidency, Kennedy signed an executive order creating the Peace Corps, a voluntary program that has as one of its goals "to help promote a better understanding of Americans on the part of the peoples served."
One of those understandings is that the United States is not a nation motivated solely to enrich itself, but a country that wants to spread self-determination and freedom to everyone on the planet.
President Kennedy's chief legacy does not exist in his executive orders or legislative actions. It is rather the commitment to service that he inspired in the American people and in human beings across the globe.
Rather than making America great again, a political slogan that can mean whatever you want it to, Kennedy urged Americans and human beings everywhere to consider the notion that supporting others and promoting liberty can make you greater than you already are.
Martin H. Levinson
Forest Hills


text:
Psoriatic Arthritis Patients Seem to Lack Enough Vitamin D
However, blood levels of the vitamin don't affect disease activity, researchers say
MONDAY, July 11, 2011 (HealthDay News) -- Vitamin D insufficiency is common among people with psoriatic arthritis, but levels of the vitamin in the blood do not affect disease activity, a new study finds.
People with psoriatic arthritis have the chronic skin disorder psoriasis accompanied by inflammatory arthritis.
The study, published in the July 11 issue of the journal Arthritis Care & Research, included more than 300 patients living in Toronto and Haifa, Israel, two geographically diverse locations. Vitamin D levels in the blood -- known as 25-hydroxyvitamin D [25 (OH) D] -- were measured in the summer and winter.
Vitamin D is produced by the skin in response to exposure to sunlight. It is also found in certain foods, including eggs, fish and fortified foods such as dairy products and breakfast cereals.
In the Canadian patients, 56 percent had insufficient 25 (OH) D levels during the winter and 59 percent had insufficient levels during the summer. In the Israeli patients, 51 percent had insufficient levels in the winter, and 62 percent had insufficient levels in the summer, the investigators found.
Vitamin D deficiency was found in 3 percent of the Canadian patients only in winter, 4 percent of Israeli patients in winter, and 1 percent of Israeli patients in summer.
Seasonal or geographic differences in vitamin D levels were not statistically significant, and vitamin D levels did not affect disease activity, concluded lead author Dr. Dafna Gladman, director of the University of Toronto Psoriatic Arthritis Clinic, and colleagues.
However, further research is required to determine if psoriatic arthritis patients require a higher-than-normal intake of vitamin D in order to maintain healthy levels, the researchers pointed out in a journal news release.
More information
The National Psoriasis Foundation has more about psoriatic arthritis.


text:
Physical Evidence
Joan Bankemper, Luca Buvoli, Byron Kim, Ruth Libermann, Glenn Ligon, Jody Lomberg, Pike Powers, and John Roche
April 12 - May 28, 1994
Curated by Molly Sullivan
John Roche, Still Life, 1992, type 55 Polaroid, edition 6, AP, 14" x 16"
This exhibition represents a diverse assemblage of workpaintings,
photographs, sculpturedifferent mediums with specific histories.
These are works whose corporeal presence is accentuated by the artist's
explicit concerns with manipulating various materials to emphasize the
surfaces of their work. "To be judged by the color of our skins," "appearances
are everything," "beauty is skin deep,"these are some of the
cultural mores that are examined in this exhibition.
The works are compelling, not only for the power and seduction of their physicality, but because they seek to establish a relationship with the viewerone that encourages physical longing, while simultaneously encouraging the viewer to ask what issues the materials suggest. What is it we know about the work based on its structure; and what do we guess the artists want to communicate to us through their use of these materials? How do we as viewers interpret these "skins" to find a language common to our everyday experiences? For each of these artists there is a moment of crisis that is very important to their work: a moment when the physical structure, in all of its seductive beauty, invites a greater understanding of larger issues at stake. This is the common, principal that informs each of these artists' work.
A recent newspaper article described a new teaching tool in which children were asked to make faces: grimaces, smiles, frowns, and then to describe to their classmates what they were feeling when they made these expressions. The children also were asked to touch the face, and feel the expression of the classmate in order to understand more directly the physical contours various states of mind elicited, The exercise of this class was to teach children how to identify, understand and empathize with different emotional states that they and their classmates experienced.
In many ways these artists are suggesting the same assignment. Coupled with various art historical and art-making issues that inform how the artist chooses his medium and style of working, these works are physical expressions based on varied motivations. By suggesting basic principalspresence and absence, mind and bodythese artists have created a rich and seductive means of communicating with their audience.
Running Out of the Blue (Scale 1:4) by Luca
Buvoli represents his running stride reduced in scale to a fourth of
his natural step. Running, which Buvoli did competitively as a teenager,
refers to the artist's desire to engage issues of art-making and allegories
of physical presence and absence. By its placement on the gallery floor,
the work re-impresses the image of the physical activity of running.
Suggestive of Muybridge's turn-of-the-century studies of motion, Buvoli's
sequential, syncopated arc is a continuum of repetitive energy. Vibrant
blue (the color of Buvoli's running shoes) and tautly paced, the sculpture
reminds us, too, of the drawings of action heroesthe one, two,
three, LEAP! of Superman's blurred image leaving telephone booth save
mankind Here it is notable that the work refers not only to issues of
impact and energy, but also to the language of drawing. Yet the fragility
of the work, a delicate interweaving of tangled cast-off materials,
such as plastics, used clothing, and cardboard, is at odds with those
attributes one would associate with action heroes or competitive sports.
Running is a solitary sport in which the competition is the body's domination
over opponents such as time and distance. For Buvoli it was a gauge
by which to judge, understand, and control the body's relation to both
a physical and mental environment.
Sfondo, another example of Buvoli's work, can be envisioned as growths or appendages to their environment. Created with wire, Plexiglas, and cardboard (art packing materials), and used clothing (sometimes the artist's or a friend's, sometimes purchased on the streets), these fragile, monochromatic elements redefine a two-dimensional space (the wall). The viewer is asked to question what he/see knows of his/her environment, much in the same manner Buvoli must have done when he left his native' Italy and arrived in New York.
By "decorating" the wall with these constructions, the artist also subverts the authority and discipline of the structurea contemporary manipulation not unlike those of the Italian fresco masters whom he studied As translated from the Italian by Buvoli, sfondo refers to the background or or groundthe erasing of a central, dominant, or authoritarian figure. Because the words extend from the wall, the viewer must be mindful of the works' fragility, which the artist exaggerates by the perversely minimal manner in which the pieces are installed. Sfondo suggests a parasitic relationship, elements that mimic the architecture of a museum or gallery space. Given the density of the City's architecture and the intensity of humanity living within its confines, Sfondo asks that we continually reexamine our relationship to this urban environment.
Ruth Libermann is represented by three sculptures: Deliveries, Malefactors' Register, and Between the line. All three works incorporate text taken from several historical sources. In Deliveries Libermann has transcribed 17th century court accounts of legal sentences for condemned prisoners who were transported to America. Malefactors' Register refers to broadsheets that were widely published and sold by the church. A malefactor, by definition, Is an evildoer, one who breaks the law. These broadsheets described in Journalistic style the behavior and confessions of condemned prisoners. The accounts were transcribed by an Ordinary (a clergy member) whose duty it was to bring public attention to the nature of and the resulting punishment for, the prisoner's crime. Often the Ordinary's account is fictitious: if the condemned prisoner refused to give a last confession, the Ordinary fabricated one.
Between the Line uses text culled from letters written by French citizens condemned to be guillotined during the Revolution. Unlike Deliveries or Malefactors' Register, the text in this work is not translated by an intermediary. As a result of being intended for the prisoner's loved ones or family, these texts express the individual's state of mind while awaiting death.
In all three works, Libermann etches shards of the text onto typewriter ribbon in precise, often difficult to read cursive. The ribbon is then placed in narrow plastic tubes and hung by magnets from a suspended steel plate, as in Between the Line (their skin-like shreds suggesting caged masses huddled together): or placed behind small, square lenses of glass and mounted to the wall as in Malefactors' Register (like preserved butterflies): or pinned line-by-line directly onto the wall as in Deliveries (suggesting memorial epitaphs). The artist does not copy the entirety of a document, but rather cuts and splices paragraphs and sentences to create the essence of the story.
It is an eerie, voyeuristic experience to examine these works. Guillotining separates the head (intelligence, reason, and spirituality) from the body (corporeal, earthbound) and it is uncomfortable to look up from underneath Between the Line. But with all three sculptures, reading these personal tragedies is tantamount to rediscovering a graveyard in one's own backyard. Libermann's work separates the human voice from the drone of historical distance. The works ask us to reexamine the mythology of history and to ask whether or not there is an experience too painful to be communicated through art? In reading these resurrected accounts, we become intimates of the condemned. The immediacy with which these voices communicate reintroduces contemporary issues of justice, crime, and punishment. The minimal manner of arranging the text, almost altar-like in its austerity, further emphasizes the obsessive weight these minute, fragile scratchings hold.
Jody Lomberg's paintings are complex layerings of color subsumed and overgrown by knitting. She is one of a new generation of artists who are re-exploring the history of Minimalism and expanding upon Its past doctrines. It is important to know that the artist does not create a painting in order to have the knitting attached: the reverse is true. The knitting exists as the skin or web, to which the painting is its subservient and domesticated support. Knitting, by its cultural and historical associations, is female. It is craft. It is utilitarian. From those definitions, painting is knitting's opposite. Melding the two conceits has given Lomberg fertile ground with which to play.
The edges of Lomberg's canvases are painterly. The wall above the top edge of the canvas glows with the afterimage of paint. Or, color from the underpainting, effervesces upwards and we catch glimpses of it when our eyes move across the canvas. Giocondo Smile glows. And it sheds. Black, loopy yarn resembling a draped shawl, hangs from the bottom half of the work. It is an odd juxtapositionlike a Surrealist accident of Yves Klein-like, cobalt-saturated canvas becoming entangled in a grandmother's crocheted Afghan.
In Breath, Lomberg has created a work of extraordinary` sensuality. Skin-toned yarn is densely and imperfectly woven. The result is a painting whose left canvas is dimpled to reveal the second skin of the painting beneath. Loose strands of yarn trail off one side and dangle suggestively. Countermanding the sensuality of the left panel, is a square of white paint floating over an underpainting of pale yellow. The rim of yellow paint heightens the provocative allusions the yarn suggests, while simultaneously acting as a formal device, preventing the white of the canvas from disappearing into the wall on which it is hung. This work is typical of the balancing act Lomberg mines: knitting as the alter-ego to painterly brushstrokes, the sublimity of painting in contrast to the course sensuality of the yarn.
These works are secretive. They reveal only as much as they hide. By knitting, the artist creates a provocative dilemma where in another realm, the space between the canvas and the knitting, acts as the lodestar for her contradictions. For example, in Chase, a diptych, Lomberg has painted the knitting which is then pinned Bandaid-style to its canvas. Hoary, sticky-looking, this half of the diptych is a dense, tactile mass. It is the inversion of the black, Reinhardtesque canvas to its right. On this half of Chase, Lomberg has knitted a square grid over the entire surface of the painting. Through the pattern of the knitting, we are only just able to glimpse the underpainting: the sense of hidden depths beyond the yarn is tantalizing. Lomberg teases, suggests, surprises rises, withdraws.
John Roche's small-scale black and white photographs of female nudes can be viewed both independently and in relation to the performance that precedes the photograph. All of the photographs represent the image of a woman whose body has been covered, "graffitied" with text. The act of writing on the nude is a painstaking, laborious process which can take many hours to complete, Roche uses text from Philosophical writings and psychoanalytical readings, conversations, dreams, books, and film scripts. These photographs serve as a window into the intense and detailed process of writing on the model. Yet, because the "performance" has already occurred, these photographs have a frozen, documentary distance to thema kind of clinical, after-reading that does not allow the viewer to experience the performance's sensuality. Our voyeuristic gaze is impeded by Roche's manipulations of both the negative and the photograph itself. He frequently varnishes, draws in pencil over the images, or reprints the negatives, making it difficult to easily read the text covering the model.
For the past several years Roche has worked editing and
shooting films. These photographs are a precursor to his new work, and
a clear sense of control and environment pervades the photographs exhibited.
As in Cross, which depicts a close-up of the nude's torso from her shoulders
to: her kneesarms crossed, legs crossedthe text seems to hover
over her skin as if it were superimposed onto the film. The sepia brown
of the varnish suggests yet another layering or filtering process and
the text flows in an ambient drape over her body. It Is difficult to focus
on, even when we attempt to decipher the narrative. The model's physical
form, folded and confined within the frame of the photograph, is emblematic
of the struggle to express ourselves both within and outside language.
The images themselves are startling: Is it her real skin? Is she tattooed? How did this occur? Why a woman? At the foreground of all of these questions is the issue of vulnerability. As with many artists, need dictates the subject or tools that are used. So too, with Roche's use of a female modelshe was the only friend who allowed Roche to work in this manner as he could not afford to pay for a professional sitter. The artist has objectified the model by "giving" her a second skin constructed from the writings of his personal musings, dreams, and psychological theories. The model, becomes the vehicle by which the artist reveals himself.
Joan Bankemper explores several mediums and is represented here by a wall sculpture and several large-scale photographs. With the sculpture, Untitled, Bankemper has wrapped together dozens of fluorescent light tubes to form a fence-like structure that repeats the vertical planes of the gallery wall. A primary interest that informs her work is the issue of internal versus external definitions of space. Bankemper wraps found and everyday objects such as cooking utensils, light bulbs, bathroom fixtures, tools, etc. in black rayon tape. In so doing the original use of the object is denied. By virtue of their new taped "skins," lightbulbs which once gave light are now transformed into fetishes, passive objects of desire. In Untitled, the artist's obsessive binding of each fluorescent tube has created an object entirely different from that we which we would expect. Our knowledge of the object's original identity is crucial to our understanding of the "otherness," it assumes, now that the artist has mummified the sculpture. Its scale is proportionally more aggressive and the tape's blackness gives the sculpture an appearance of dense significant weight. Bound together and wrapped, these fluorescent light tubes are transformed from object into structure.
With Bankemper's photograph, The Great Necromancer, named for a Houdini magic trick, the artist's manipulation of the photograph's depth of field is evident. This photograph is part of a body of work that was culled by the artist from images of pre-Columbian vessel forms. Having selected the images, Bankemper re-photographs and enlarges them, wrapping the surface of each vessel form with the black tape. Suddenly, we are confronted not only with an object whose scale is completely out of proportion to its original state, but one whose appearance by virtue of being taped now suggests a three-dimensional presence within the two-dimensional format of the photograph.
In selecting vessel forms to photograph, Bankemper has deliberately chosen forms whose cultural iconography would represent male or female sexuality. The artist assumes that Freudian terminology is so much a part of how people define what they see, that she deliberately focuses on the image's power to seduce by reinforcing its "sexual" stereotype. Bankemper is particularly attracted to the history of defining the feminine. This work parallels the nature of how we define our sexuality by imparting sexual codes and definitions to objects of beauty.
Byron Kim's painting Emmett represents both a portrait of the artist's son, as weld as a reexamination of issues of Minimalism. Like Lomberg, Kim mines the history of Minimalist painting and pushes the dialogue another step. Emmett consists of 3 inch by 3-1/2 inch panels painted over with egg tempera. Each color-saturated, monochromatic panel represents the artist's exacting reproduction of the flesh tone of an area of Emmett's skin. The relation of specific color to the child's body, Is further reinforced by each panel's diminutive size. Specific to Kim's work is the understanding that while each panel is in itself a complete painting, it is also part of a much larger community.
Black and White is a collaboration between Byron Kim and Glenn Ligon. Each of the 32, 4" x 8" panels represents a standard portrait measurement. Unlike Emmett, each panel is painted from pigment applied directly from the tube. Arranged in a grid format, each panel represents a paint company's formula for varying flesh tones. Immediately obvious is how artificial, even ludicrous, are these representations. On one side of the grid, the artists have laid out "white" flesh tones: on the other side, "black." Clearly, no one panel accurately reflects either; they are simply labels that are extremes.
Color theory, as taught in history and painting classes, been expanded by Kim to include contemporary social issues. Where once color-field painting involved an effort to represent the abstract, something spiritual and universal within the confines of the canvas, Kim and Ligon rework the theory to include the spectrum of identity. How does skin color influence assumptions and preconceptions about who we are? Where does our skin color locate us within social histories? Organized like the pages of a high school year book, the artists have provocatively and humorously questioned the narrow stratagems and empirical assumptions of the Minimalist school to include the perspective of "artists of color."
Pike Powers exhibits candy-colored latex and vinyl sculptures
which are pinned to the wall like deflated balloons or shed skins. As
in Nymphettes and Happy Birthday, the artist works by constructing
an assemblage of objects which she glues together. She then paints the
surface with latex. Once the paint has dried, she peels away the casing,
dismembering it from its structure. The importance of creating a the and
assembling mass is secondary. This sculpture is a reductive actits
essence is powerfully balanced as much by what is no longer part of the
work as the skin that now exists.
These works are initially playful and humorous to view, but with further scrutiny, the materials and their constructions suggest more disturbing associations such as body bags and blood banks. Powers makes use of bathroom fixtures, including sinks and drains, to arrive at some of the forms in her work. The hygienic uses of this hardware are specifically chosen and alluded to by the sculpture. In a time of crisis over AIDS, health-care, and violence, these works suggest a fragile vessel.
Untitled is a more organic and sensual work than Nymphettes or Happy Birthday. Its rippled surface, flesh tone coloring, and rubbery material refer much more directly to the body. Constructing Untitled from vinyl, Powers has created an intensely provocative work. Like Louise Bourgeois's bronze abstraction resembling female breasts, Untitled's associations are specifically feminine. This work, too, has weight and volume, and projects presence instead of the ghostlike afterimage suggested by her other two works.
In both instances, however, Powers' has created sculptures, whose censorial power to communicate a range of emotions and issues reminds us of the image of a classroom of children making faces. What identity would you give to these expressions?
For lending works to this exhibition, I wish particularly to acknowledge Max Protetch and Jack Shainman Galleries and the artists of this exhibition for their time and generosity. I would also like to thank the following individuals for their editorial assistance and support: Michael Bliss, Susan Dague, Tamara Kopicki, Susanne Sullivan, Nina Sundell, Donald Wheeler and Tom Wolf.
My grateful thanks go to Susan Hoeltzel and Skowmon Hastanan, Christopher Priore, Mary Ann Siano, and Dan Shure for making this project possible.
This exhibition originated as part of a series organized for the Procter Art Center at Bard College by Tom Wolf, Associate Professor of Art History, Bard College, Annandale-on-Hudson, New York.
The exhibition and education programs at the Lehman College Ad Gallery are provided by The New York State Council on the Ads, The Department of Cultural Affairs In cooperation with Bronx Borough President's Office, the Bronx Council on the Ads, the Herbert and Edith Lehman Foundation, the Robert Lehman Foundation, the Joe and Emily Lowe Foundation, the Greentree Foundation, AT&T, the Merck Company Foundation,, the Cowles Charitable Trust, the Joyce Mertz-Gilmore Foundation, Citibank, and Friends of Lehman College Art Gallery.
Staff: Susan Hoeltzel, Director Skowmon Hastanan, Registrar Christopher Anselmo Priore, Education Coordinator Mary Ann Siano, Development Associate
Lehman College Art Gallery 250 Bedford Park Boulevard West Bronx, New York 10468-1569 Phone (718) 960-8731 Fax (718) 960-6991


text:
Accrisoft Freedom™
Content Management Solutions
This website is powered by Accrisoft Freedom™ content management solutions. Accrisoft Corporation is a leading provider of web application development and content management software for non-profits, faith-based organizations, education, publications, government, healthcare, Chambers of Commerce, small, medium and large-sized business.
Accrisoft is changing the rules when it comes to helping customers create, build, and manage their own websites to increase profitability, enhance productivity, and improve communications. With Accrisoft Freedom simple-to-use website software, organizations of all sizes can quickly and cost-effectively create and manage websites.
With Accrisoft Freedom content management software tools, it's easy and cost-effective to create and build your own website, deploy e-commerce to sell products, market your business and services, streamline processes, and manage your website and your organizational information more effectively.
Because every industry group has unique requirements, Accrisoft addresses the specific needs of key markets with solutions that increase ROI, improve communications, and enhance productivity. Whether you want to simplify content management, add e-commerce, expand your membership base, generate leads, or automate processes, Accrisoft Freedom content management solutions help you create an online presence ... optimized for your unique requirements.
Discover how Accrisoft Freedom website development and content management solutions empower you to manage your own website and help you increase revenues and decrease expenses. Find out how you can transform a traditional static website into a 24/7 business solution that generates profits.
To learn more about Accrisoft visit www.accrisoft.com or call 1.888.965.3330. If you would like to contact Accrisoft online please fill out their Contact Us form.


text:
Struggling to come up with a new sermon topic each week? In Feasting on the Word, you will find an elegant alternative to fretting over which passage to preach on any given Sunday.
This is an incredibly accessible resource for the preacher. The 12 volumes in this series include passages for three years' worth of Sundays, as arranged in the Revised Common Lectionary. The church has fine-tuned this lectionary over time and it provides a holistic approach to the entire canon of Scripture.
Stay on track with a calendar of weeks that includes special sections for Lent and Advent.
Each week features a reading from the Old Testament, a Psalm, an excerpt from an epistle, and a passage from one of the four Gospels.
One Passage, Four Guides
For each passage, Feasting on the Word features essays and commentaries from four different perspectives:
- The theological
- The pastoral
- The exegetical
- The homiletical
This format supplies the teacher with a wealth of possibilities in his approach to each of the four Scripture passages included for each week.
Get it Now!
For a limited time, Feasting on the Word is available on Pre-Pub for $189.95—50% off the retail price. Pick up your lectionary commentary series today!


text:
New models from Chrysler, Buick, Chevrolet and Ford are at the top of their respective segments in Strategic Vision's "Best 2013 Total Quality" awards.
The research consultancy annually acknowledges what it considers the best vehicles in 21 categories using a concept called "total quality" and the showing of the Detroit Three may be a surprise for some. Domestic vehicles were judged the best in 12 categories.
The 2013 Dodge Dart was the top quality Small Car; Ford Fusion and Chevy Volt, top Mid-Size Car; Chevrolet Corvette Coupe, top Premium Coupe; Chrysler 200 Convertible, best Convertible; Chevrolet Traverse, best Mid-size Crossover Utility; Dodge Durango, best Midsize Traditional Utility; GMC Yukon, best Large Utility, Buick Enclave, top Near-Luxury Utility; Chevrolet Avalanche, best Full-Size Pickup and Ford F-250/350 best Heavy-Duty Pickup.
"There's no questioning domestic car makers want to lead," said Alexander Edwards, President of San Diego-based Strategic Vision. "For the first time in over a decade our comprehensive and complete study of quality resulted in more domestic winners than imports."
Strategic Vision began the survey in 1995 and measures 155 specific aspects of quality and more than 442 variables based on the opinions of nearly 17,600 buyers who purchased 2013 vehicles from September to November.
"The Dodge Dart's win in the small car segment is extraordinary when you consider how much focus, design and competitive engineering exists within this important segment. Dart is essentially 'proof of concept' that when you mix super exceptional versatility motivating exterior styling, and a strong array of high quality performing components and concepts, customers respond," Strategic Vision Vice President Christopher Chaney said.
Other Total Quality winners were the Kia Soul, Small Multi-Function vehicles; Honda Accord Crosstour, Mid-Size Multi-Function; Volkswagen CC, Large Car; Hyundai Genesis Sedan and Auto A4 Sedan, near Luxury Car; Lexus LS, Luxury Car; Mini Cooper Hardtop, Specialty Coupe; Porsche Boxster and Chevrolet Corvette Convertible, Premium Convertible/Roadster; Volkswagen Tiguan and Toyota FJ Cruiser, Entry Utility and Porsche Cayenne, Luxury Utility.
Volkswagen was the best brand in overall Total Quality for the eighth straight year, Ford was second and General Motors and Hyundai tied for third. Audi and Lexus tied for best individual brand followed by Mini, Cadillac, BMW, Mercedes-Benz, Lincoln, Jaguar, Infiniti and Buick.
Cost may slow development of connected cars
U.S. Transportation Secretary Ray LaHood says advanced technology connecting vehicles on the road will save lives, but he's concerned about the cost.
"We know it's going the save lives," LaHood said in Ann Arbor last week after opening the University of Michigan's Symposium on Connected Cars. "We know this technology is going to help people avoid accidents."
LaHood, who is leaving the administration after four years, said it's up to automakers to figure out how much a connected car system will cost.
DOT has been experimenting with nearly 3,000 connected "smart" vehicles on the streets of Ann Arbor since August in a $25 million project with eight major carmakers. Sensors installed in the vehicles provide information to other vehicles on road and weather conditions and vehicle-to-vehicle communications could someday help avoid collisions.
"Cost hasn't really been a factor at this point," he said. "But ultimately, it will be."
The watchdog National Highway Traffic Safety Administration has requested $2 million for a new office to study self-driving cars and to ensure vehicles electronically connected to traffic networks, and to each other, can't be hacked.
"NHTSA recognizes the challenge and the growing onboard potential for remotely compromising vehicle security through software and increased onboard communications services," NHTSA Administrator David Strickland told the Senate Commerce Committee Wednesday. "With electronics systems assuming safety critical roles in nearly all vehicle controls, we are facing the need to develop general requirements."
In Ann Arbor, LaHood also touted the National Transportation Safety Board's proposal to lower the legal blood alcohol limit for drunken driving to 0.05 from the current 0.08 limit and raise the drinking age from 18 to 21.
For a 130-pound woman that's about two glasses of wine consumed within an hour and for an average size man that's about three drinks.
"I think everybody knows that 0.08 is the standard," LaHood told WWJ-AM, Detroit. "I think there will be a big debate over whether to go to a different standard or not."
The NTSB voted 5-0 to recommend lowering the DUI standard to reduce the nearly 10,000 drunken driving traffic fatalities each year.
"It's going to happen. We don't know how long it will take, but it will happen," NTSB development division head Robert Molloy told The Detroit News. NTSB estimates drunken driving -- blamed for 31 percent of all traffic deaths -- costs society $130 billion a year.
NTSB says a driver with a 0.05 blood alcohol level has a 38 percent higher risk of being in an accident compared to a driver who has not been drinking. The current blood alcohol limit for commercial drivers is 0.04.
The recommendation does not have universal support, including that of the Obama administration and Mothers Against Drunk Driving.
National Highway Traffic Safety Administrator David Strickland said there's insufficient data to support the NTSB's proposal for dropping the blood alcohol content limit to 0.05.
"At this point, we don't have any data on 0.05 BAC," he told reporters. Strickland said more data is needed before his agency can make a recommendation to Congress.
"Moving from 0.08 to 0.05 would criminalize perfectly responsible behavior," Sarah Longwell of The American Beverage Institute, a trade group representing restaurants, said in a release. "Further restricting the moderate consumption of alcohol by responsible adults prior to driving does nothing to stop hardcore drunk drivers from getting behind the wheel."
The Governors Highway Safety Association says states should ensure drivers convicted of DUI have to blow on an alcohol ignition interlock device to prove they are sober before they can start their vehicles. NTSB wants all 50 states to require the interlock devices in vehicles of all motorists convicted of driving under the influence.
Is the driving boom over?
A study by U.S. Pirg, the non-profit federation of state groups, finds total miles driven by Americans peaked in 2007 and will decline as baby boomers retire and millennials -- age 16 to 34 -- drive less.
The average number of miles driven is expected to be down for the eighth consecutive year, the report said.
"The driving boom is over," said U.S. Pirg Education Fund senior analyst Phineas Baxandall, who co-wrote the report. "The constant increases we saw in driving up until 2005 show no sign of returning. As more and more millennials become adults, and their tendency to drive less becomes the norm, the reduction in driving will be even larger."
The report found millennials drove 23 percent fewer miles on average in 2009 than in 2001 and are far more likely to prefer walkable urban neighborhoods and public transportation than their parents and grandparents.
The study, which looks out as far as 2040, said the generational shift will make it hard to justify massive spending on new and improved roads and infrastructure as spending on public transportation falls.
"America's transportation leaders need to wake up to the momentous changes that have taken place over the last decade," Baxandall said in a release. "The infrastructure we build today will mainly be used and paid for by the millennials who are leading the trend away from driving."
The report projects by 2040, U.S. motorists will use about half the gasoline and other motor fuels they use today -- lowering motor fuel taxes as much as 74 percent -- traffic congestion will ease, toll roads will be less financially viable and public transit will become a better investment.


text:
Watch CBSN Live
This photo was taken on the set of "The River of No Return." It's never been
seen at all, in fact it wasn't even included in the auction in which
Limited Runs acquired these images. It was acquired from the Allan "Whitey" Snyder estate
after the auction.
Limited Runs is hosting a traveling exhibition of rare, never-before-published Marilyn Monroe photographs.
The show launches June 6 and will travel from Los Angeles, to San Francisco, to New York throughout summer 2014. Click through to see some of the shots.
Credit: Allan "Whitey" Snyder
This was taken during the filming of "River of No Return." It was
early morning and Monroe and Snyder were on their way to hair and
makeup on set. They came across some baby black bears and Snyder snapped
a photo of it. It's very rare to see a photo of Monroe without makeup; she
almost never let anyone photograph her without it.
This was taken on April 15, 1956. Monroe was in the middle of filming "Bus Stop" on a Sunday
afternoon. She and photographer Milton H. Greene decided to take some pictures on the back
lot of 20th Century Fox, and they had the whole lot to themselves.
Credit: Milton H. Greene
Mischa Pelz was a commercial photographer, who usually shot products. He and Marilyn were friends but had never worked together until he was
hired to shoot the lawn furniture with her as the model. This was taken
right before the film "Gentlemen Prefer Blondes."
Credit: Mischa Pelz
This photo was taken during the filming of the movie "Niagara," in upstate
New York. There were no other photographers around, it was only Snyder
and Marilyn taking pictures in between takes as a way to relax.
This was shot on location during the filming of "Bus Stop."
Lani Carlson was a sound engineer working for Capitol Records and he did
a lot of live events. He and his business partner went to this event
to set up the sound, and afterwards he left and came back with his
camera and a press pass that his friend working for the Chicago Tribune
gave him. He was able to get exclusive access to Monroe for a half hour
by claiming he worked for the Chicago Tribune and needed to get the
photos onto the AP wire, even though there were about 15 other
well-known photographers waiting to take pictures of her. He developed
the photos and then they sat in a shoe box until 2010. This photo was
taken with a 3D camera.
Credit: Lani Carlson
This photo was also taken by Lani Carlson that same day.
photo was taken in 1957 in England during the filming of "The Prince and
the Showgirl." The photo was taken on set during a costume test. The
film was being produced by Monroe and photographer Milton Greene.
Laurence Olivier was directing the film, but he and Marilyn didn't get
along well, so in a lot of the photos from this session she isn't
smiling. In most of Snyder's photos, though, she's smiling
because of their close relationship.