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More ways to keep up with the latest news from Polk County Public Schools:
Teachers at Cleveland Court Elementary believe art and science are not separate topics. The faculty makes it a habit of regularly integrating art into their STEM programs. Art Teacher Ken Groff explains, "Art is interrelated. By weaving science with art we can use real world activities to not only teach students about technology, but also teach them to see beyond what lies on the surface. I regularly create my curriculum around what the students are learning in their science classes. For example, I recently had my students create airplanes. I tied it in with Sun 'n Fun. The lesson during that art class was about symmetry." In short, both art and science require the use of observational skills, curiosity and constant experimentation with colors, textures, shapes and forms.
The merging of artistic process and scientific progress was most evident when 1st graders recently helped create a garden size sundial. The second graders calibrated the large sundial. Each first grader then created their own sundial out of clay and used this to observe the movement of the earth and the change of the earth's position from Summer to Winter.
4th graders were treated to a special archeological dig. Before the excavation started, teachers buried prehistoric artifacts in the garden area. Some surprise discoveries included: Dugong bone, prehistoric horse teeth, stingray mouth plates, prehistoric shells, an assortment of bone fragments, the skeleton of a giant armadillo and more.
Students were instructed to collect, clean and study the items they found. The students then documented the items recording them in their field journals and classifying them accordingly.


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17. Risk Analysis
As with all departments and divisions OUCS will prepare and maintain an annual risk register. However, with reference to this plan the risk to the University of not completing or achieving most of the above mainly falls under two categories. First our IT infrastructure will be compromised, especially with relation to business continuity; but also in terms of the facilities we can offer to the staff and students. Oxford would begin to seriously fall behind its competitors in terms of what it can support. Second, picking up on a common theme throughout this plan, unless the critical funding issues identified by the SFWG meetings are tackled then key services will be put at risk.
Throughout 2006-7 OUCS has also assisted in several reports by the external auditors. These have pointed to three key issues:
- There is a critical single point of failure with the OUCS machine Room. This then forms part of a request for funding to the ICT Capital envelope for a refurbishment of the OUCS facilities and the establishment of a second facility. Target date: 2009 onwards.
- Key work needs to be done on enhancing the Network's resilience. Again this forms part of a bid under the ICT Capital envelope. Target date: 2009.
- An overarching Continuity Framework needs to be developed by OUCS for its key services. Target date: Trinity Term, 2008.
Up: Contents Previous: 16. Monitoring Performance Next: Appendix 1: Analysis of Key Objectives set in Previous Five-Year Plan

subset: commoncrawl


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I always preface this year-end list by saying that I'm not a fan of years in review. Culture's not a tax statement; you don't have to file your movement by an arbitrary date. But sure, a bunch of things happen and are worth discussing – as long as there's not any hierarchy, no unified theory of 2012ness that we try to festoon on everything, that's aight.
Rules of the game: these are ten or so songs I listened to, or simply heard a lot this year. I don't like all of them, but I either played them by choice or encountered them wherever I happened to be. Other rules: they're more or less from this year. Also: no adding to the vast, open-cast pit of white people's bad anthropological writing on 'Gangnam Style'/Channel Orange/Good Kid, M.A.A.D City. I think all these things are good, but I can't offer anything original or meaningful as to why they're good. So I won't. Finally, you owe it to yourself to listen to the songs no matter what I say and form your own opinion. Apart from the one that the 'dark side of the New Zealand left' doesn't want you to hear (actual & rare FB quote).
Sharpie Crows
"Thank You Ladies For The Spread"
Here's what I was moved to write about "Thank You Ladies For The Spread" back in September:
"Post-cultural cringe, we've reached a point where the same slices of rural conservatism – farmers' wives wakes in the War Memorial Hall; starchy platters; hidden urges as murmured carpark asides – that informed plenty of our best fiction and art have finally crept into our pop music. But if people like James Milne are viewing it through a lens of wry sepia affection, Sam Bradford and the Sharpie Crows are fucking terrified, hinting at murder, disease, intruders, arson and one great big reckoning under the surface.
Bradford never raises his voice above a slurred murmur, but there's nothing murky about this. It's about as precise and clean as we've ever heard the group, light-years away from their no-fi Bastard Sons Of Grey Power beginnings. There's incredible, fluid drumming that reminds me of Can's 'Vitamin C' grounding the entire thing, a melodic break where the chorus should be that's more frightening than uplifting (with horns!) and it's nice to hear a guitarist who was actually listening to Gang Of Four, right? I mean, he's not playing staccato figures over some hi-hats, the instrument's a full-on protagonist here. It's the baleful, wrenching call-and-response to Bradford's guilty conscience. More superficially, they look very cool in the video.
I saw them play one of the best shows of the year back in January at Whammy Bar, and this number stuck out even then – but this treatment's exceeded my wildest expectations. 2012's greatest bummer in a year where we all got perversely interested in people on farms taking each other out, it's New Zealand Gothic done without stupid and obvious alt-country signifiers. I love it."
I still stand by it. The cultural cringe thing is over-stated, of course – plenty of people have always making febrile art (painting, sculpture, plays, hip-hop) situated in New Zealand and asking questions about New Zealand identity. What you did have, and you'll probably always have, were a lot of middle-class and overeducated and itchy-heeled kids who held onto this fantasy of 'somewhere else, somewhere bigger (but still Anglophone)' and unintentionally made perfectly servicable music that eschewed the local (and the personal and political that comes out of that locality) in order to be more marketable to that 'somewhere else'.
You could say this is a reaction to branded Kiwiana and Warehouse compilations with the Four Square guy on them, but I mean, you look at 'somewhere else' and they're doing exactly the same thing. Fleet Foxes aren't singing about a drunken handjob thwarted in the toilets of their Seattle local or watching friends lose their twenties to a numbing recession, they're going to just keep being vanilla pastoral nostalgia creeps 'til the money runs out. Meanwhile, the Sharpie Crows released a compilation of their self-released caterwauling early stuff called Nostalgia Kills (choice line: 'How can you make country music when there's no country anymore?') at the same time they released their most focused and remarkable (danceable!) single yet, a fever dream of murder, sickness and terror in the blue-rosette countryside. They get the distinction between being a nostalgic and being a witness, and that's something more universal than being a 'New Zealand band'. Can't wait for what we get next.
The xx
Cards on the table. Coexist is my album of the year. I've listened to it more than anything else; I believe that in time it will be recognised as the superior of the xx's two albums; I believe it's been given a middling critical run because it's an minimal house/R&B record marketed and anticipated as quirky electronic pop (cf: their first album) – conversely, many of the people who I suspect would enjoy and appreciate it most probably haven't bothered to hear it.
The most galling remark I've seen used and reused has been some Pitchfork placeholder like "I miss poignant and simple lines like "We watch things on VCRs".Where's this album's heart?" Newsflash: there's nothing in the group's aesthetic to have ever justified that line. They're not Neon Indian, they're not positing anything else 'retro'. They don't watch things on VCRs. It was a fucking affectation. If Coexist's song cycle is missing these offbeat little fragments, maybe it's because totalising, deadbolt heartbreak isn't offbeat.
What we get here is simple, direct and sad. It's courageous enough not to blink – no more so than on the brittle and extraordinary "Reunion". If virtually all of Coexist deals with ex-lovers communicating through self-imposed walls, this is the one moment of actual intimacy, and it makes that moment every bit as tentative, exhausted, and (eventually) desperately passionate as it always is. Romy Madley Croft and Oliver Sims trade off emotional wishlists – "Did I see you – see me – in a new light?…Never not ever, never not ever again" but there's a palpable finality to the encounter ("There's an end to us with someone else in sight"). Sonically, it's an emotional wallop. Jamie Smith first incorporated steel drums into his production on 2011′s superb "Far Nearer"; I find the moment when they shiver into focus here, dischordant notes and all, too beautiful to stand. When it turns into a somber house track on the other side, it's maybe the most immersive they've been. The last, craven orgasm has never sounded so beautiful.
It's possible I'm overestimating Coexist (though definitely not "Reunion") because of how disappointing I was expecting it to be – I was expecting, you know, Florence bad. I thought they'd second-guess themselves and go large, or someone would prey on them for being young and naïve and go large on their behalf. As it is, three musicians under the spotlight, under so much scrutiny, doubled down and generated this quiet, remarkable storm. Over and over, I keep going in and pinching myself trying to believe that they managed it.
Dirty Projectors
"About To Die"
Can't remember where I saw it, but I read someone making the salient point this year that music critics are always happy to frame music negatively by making reference to its fans being somehow beneath them – younger, stupider, less educated, 'tradies', students, etc. On the other hand, no one ever dares to acknowledge the possibility that music is being made for people who are brighter or better than them.
So here goes. I believe Dirty Projectors fans are smarter than me. I believe they will have studied to postgraduate level and will be fluent in two languages or more – I believe they have read widely and deeply and challenged themselves while I passively wait for Jeffrey Eugenides and Zadie Smith books to be served up to me on a Guardian-vetted critical platter. They may have some knowledge of music theory. They will have a sense of aesthetic and design that runs from their bedroom to their outfits, and they may have the skill to create some of those aesthetic and design elements themselves (ie: they are crafty). They will be in a better position to understand or profess to understand Dave Longstreth's elliptical references and cryptic lyrics, and have the patience for the at times labyrinthine music his band creates. I am a lumpen and craggy outsider, some sort of squat Nixon or Muldoon-like figure claiming to represent the feelings and wishes of the 'silent majority'. I like to think those feelings and wishes are: this band is obnoxious, vile and hideous and I wish they wouldn't come to my beautiful country.
Let's flash back to the Yale-educated Longstreth's 2009 New York Times interview – he drops calculated references to Monteverdi, James Joyce, William Blake, and Richard Wagner as he tries to explain why the music he makes is "not terribly easy to apprehend"; enigmatically, he instructs his chanteuses to make their harmonies 'more Slavic'. One of those unfortunate home-schooled children who makes his upbringing a point of nobility (no TV! No computer!) he talks about how 'distasteful' it was to have friends who played Mario Kart. I find the hubris hard to swallow, and I mean, I say this as a fan of the singer and performer Morrissey. The Dirty Projectors constantly obfuscate their promising melodies with haphazardly wan arrangements, with a cluttered busyness and distracting vocal acrobatics, a barrier to entry without reason or reward. And if you think that's fine and dandy, stop and think about what this means when they start appropriating elements of other contemporary music trends.
That is to say: modern R&B, which Longstreth readily takes from, is some of the most refined, complex, and sonically perfectionist music being made right now. People like Terius Nash, Miguel Pimental and Abel Tesfaye have created stuff streets ahead of what the Dirty Projectors have tried to reach for in terms of sound, structure and basic human satisfaction. Unlike Longstreth and his band, however, their greatest feat is packaging that accomplishment in a way that's triumphantly and transparently populist.
So why – on 2012′s "About To Die" and the farting, barren "The Socialites", on 2009′s Mariah Carey-aping but aimless one-liner "Stillness Is The Move", are the Dirty Projectors trying to intellectualise R&B, to make the sophisticated more sophisticated? Because it's predominantly made by blacks? Because its traditional audiences are likely to be younger, poorer, and less educated, and there's a burning need for a version of it that speaks to our intrinsically different middle-class concerns? Is there a special and transcendent place this music can reach in Longstreth's capable hands, as he interpolates an American Negro slave spiritual into some opaque blather about old-world hero Ferdinand Magellan? Is the weird, gauche "Hey, baby" thrown into "About To Die"s mix a homage to the lowbrow, or really just an unintentionally apt throwback to "Pretty Fly For A White Guy"? And why do their videos, time and again, show us blonde cloaked women seeking out some kind of agrarian pastoralism, to locate and uncover deeper truths that the urban is somehow depriving us of?
Bottom line – I think this band are tedious and full of themselves, but I also think their attitudes to race and class, their need to convert the self-sufficient cultural output of others into some perceived high-brow of their own, are really troubling. My big wish for popular music this year is that they stop attempting to make it.
(Postscript: I gave their 2007 album, 'Rise Above' a rave review in Real Groove when it came out. 'Rise Above' was an attempt to recreate Black Flag's seminal 1981 punk record 'Damaged' without revisiting the source material. I believed at the time Longstreth's tribute was at once sincere and radical – devoid of any background biographical knowledge, I'd presumed that he'd been a punk 'lifer' at 20 and that it was a clever, moving exercise in toying with ideas of memory and authenticity. More and more, I wonder whether it was in fact just a smarmy punchline, and he actually held the original work and its context in a certain leering contempt. Personalities aside, I still think it's a flawed but interesting work. What's come since is worthless.)
Tono & The Finance Company
This is all going to look decidedly creepy come the New Year, when I appear on 95bFM's 'True Fan' also discussing why I like Anthonie Tonnon's work so much. But I do – I think he's an original voice; I like that he's a songwriter who actually thinks about composition and arrangement as having a bearing on the lyric, that treats the exercise as a complete short story and doesn't think a couple of earnestly strummed chords alone will do (by this measure, 99 percent of singer-songwriters just want to tell you a really ripping pot-boiler of a story but carriage it in the prosaic prose of an airport dad novel). To make this paragraph in some way constructive and not just effusive, I also like that his ambition with a lyrical conceit will sometimes overreach and that he's come up with a couple of complete clunkers as a result. It's better than never trying at all.
Given that this was a year that the smuggest real estate agency billboard in Christendom went up in my neighbourhood ("Grey Lynn sure is getting popular. Sorry about that.") I would have liked to hail "Marion Bates Realty' on this list, but that predates 2012. I'll settle for "Tim" - because musically, it sends me into synaesthetic conniptions. There's the crystalline but irresolute guitar line that matches his rallying cry: 'Tim, this city is ours now!'. A gnarly guitar line, off-kilter to the rest of the song, lurches into focus for a second and shunts to a halt on a harmonic as "a band is playing underground to a well-dressed, desperate crowd", and, lo and behold, you've been pulled into Whammy for 30 seconds before stumbling out and pretending to check your phone.
This is so wild to me, that there's this spatial and sensory awareness going on even though it's just indie rock. It works as travelogue and as a platonic love song to a friend. Plus, as a born-and-bred Aucklander I find the story of someone from somewhere smaller arriving and finding it so alive, so vibrant and full of possibility, genuinely moving.
Home Brew
'Plastic Magic' (ft. Esther Stephens)
Not because they're the best, or anything like that (though "Plastic Magic"is a genre-confounding and compellingly dark exercise in atmosphere that's only tangentially hip-hop, and I love it) . But because, gloriously and anarchically, they made their mark in print, online and in the real world this year. An amazing jacking of the final Volume magazine ever, a three-day album release party in an ex-brothel, a pop-up store, a mercurial Twitter presence, a #1, an unforgettable appearance at the NZ Music Awards that made David Farrar effectively blow up on the launch pad in a classic 'sedentary libertarian blog bro encounters rap music' flashpoint. It's been a lot of fun, but more importantly and beyond the main protagonists and parties, this is the sort of mythos-building stuff 14-year-old boys and girls will remember in half a decade's time. They're seeing that it can be done, and it was done here. Quieter though more capable performers well always lay in state to be cratedigged and re-evaluated; in the meantime, local kids need big and brash outlaws, and Home Brew, with their humour and social conscience, have served this purpose wonderfully.
An aside: I have no idea if the organisers of 2012′s Music Awards expected things to go down like they did. But if so, I admire their courage and hope they have the gumption to do it all over again. Like it or not, we are small: distinguishing ourselves from the pomp and ceremony of other countries with surprise and strangeness is important.
Ryan Hemsworth
'Charly Wingate'
I really enjoyed most of what came my way from Halifax-based Ryan Hemsworth this year. The lead-off on his EP Last Words became a sort of signature tune of his, and it manages to handily incorporate plenty of the things he's amalgamating effectively – a sort of choral, portentous DJ Shadow thing, the last hazy vestiges of preset chillwave, chopped 'n screwed samples that he's wisely using as an added texture rather than 'the hook' (here, it's incarcerated Harlem rapper Max B, born Charles Wingate). Like Clams Casino in 2011, that hint of aural murk is really satisfying – but unlike Clams, he's working in a mid-fi of chimes, martial timpani, and woozy analogue sighs that might be easier to keep changing up on a bigger stage. At any rate, it's instrumental music too lively and playful to slip into the background, but never insecure enough to feel it needs to be 'on' all the time. Lots is happening, sure, but it's not a hyperactive mess.
Part of me wonders if we're headed towards some horrible cloud-rap producer equivalent of Girl Talk within the next 12 months – some dude comes in on the tail-end of something that was done and dusted, and grave-robs it in a super obvious way for adoring frat party crowds. Just imagine slowed-down Destiny's Child and TLC ad nauseum over vanilla trance beats with a bit of delay and reverb for 'children of the 90s'. Horrible, right? Inevitable, right?
When this day comes, I think Hemsworth (and maybe other guys like Dev Hynes, who's 'Losing You' and 'Everything Is Embarrassing' are both fantastic, but definitely the work of a generous, self-effacing dilettante) are going to get some stick for opening the gates, but they shouldn't. I really rate Hemsworth. If you like this, check out his FACT mag mix from October, the way his treatment of Waka Flocka Flame's 'Bill Russell' skirts the vaporwave plaza for food-court leftovers, and the also-excellent Supreme Cuts' gloriously verdant remix of his 'Overthinking'.
The Eversons
"What's gonna happen when my parents die?/What's gonna happen when I lose my mind?" Let me be completely honest. I enjoyed the Eversons when I first heard a couple of songs in early 2012. If they felt like an unabashed rip of a nervy sweatered white-guy college rock thing from Jonathan Richman, to Pavement, to Weezer, at least they were shameless about it – they even tagged their Bandcamp so fans of their predecessors might stumble upon them. In particular, I liked 'Could It Ever Get Better?' for tapping into a panicked deep-night vein of anguish about loss, aging and change – things that you still think all the time when you're 'young and hip' but don't ever get to express. Basically, it's the kind of therapeutic public service that indie rock should be offering, moribund genre or no.
Anyway, then they wrote 'Harlot', a musically and morally useless B-side following a 'classic' 'boy meets girl, boy loses girl, girl becomes prostitute, girl comes crawling back on 'er knees 'n eager to please, allllllright' trajectory. Now, I may not be the target audience here, since I stopped finding anything intrinsically funny about someone being a prostitute when I was approx 13 or 14. Presently, I'm more inclined to see them as undertaking work that can potentially be empowering, but is also cloaked in seriously negative stigmas and systematically robbed of the dignity of other paid work. There's an aura of shame and silence that makes sex work a lot more dangerous than it should be for many men and women. And, you know, there was also the fact that the frontman's ex-partner had worked in the sex industry. The Eversons' counter-claim – that the song was nearly a decade old and this was all a dreadful coincidence – washes pretty fine if you assume that its composer was in an induced coma between writing 'Harlot' and 2012 and missed that wee patch where a former girlfriend worked in a profession he decided to publicly mock and slut-shame.
But they eventually put out a long and what seemed like a fairly heartfelt apology out, even if it clearly lacked a certain precision. In the meantime, it was great fun (ie: aggravating and disappointing) looking at everyone else who chipped in from the sidelines.
Firstly: I cannot understand why anyone would start an indie label without having or wanting some aesthetic or creative control or oversight over their roster (you certainly aren't doing it for the money). Lil Chief appeared to have nothing constructive or intelligent to offer either before or after the fracas, although we eventually received a press release for the ages which began by invoking Carly Simon and Alanis Morrisette to justify writing mean songs about breakups. Except that this wasn't about a breakup, it was just interpreted that way. But it was definitely sexist and misogynistic. Er. I appreciate Lil Chief at least recognising it should take a more active role in vetting its future releases. This sort of stewardship is important for any brand (yeah, brand. A label isn't a commune) and can actually stop a young band from making bad decisions. Otherwise they may as well go it alone.
Meanwhile, the Internet was just wonderful. For years I had some pretty mistaken assumptions of Wellington as being a sort of intimidatingly healthy egalitarian utopia where men and women cohabited in harmony and started bands together. Actually, it's just a bunch of hormonal young dudes being like "Don't apologise for your art!" and shrieking about censorship (nobody censored anything, the band voluntarily removed their MP3 following a number of complaints) and gravely intoning "Today I have seen the dark side of the New Zealand left". My other favourite comment of note: "when people are offended it's because they are afraid." Yeah, totally.
I also found it uncomfortable how Simon Sweetman suddenly started rhapsodizing about the band about a fortnight after the controversy, taking pains to talk about everything – anything – but what had gone down around 'Harlot', and ultimately coming off as making a bizarre apologia for them. Given that his newspaper reported on the controversy, it's impossible to believe he wasn't aware of it. Music doesn't exist in a vacuum, and if you choose to pretend it does, why are you bothering to write about it?
By December I'd decided it had blown over, and that I wasn't actually going to bother writing about the Eversons, but then they put out 'The Christmas Suicide Song', because losing a family member forever in late December and being consigned to associate the holiday season every year with that moment you found their body is really courageous observational humour (Lil Chief's hot update: "It's a sad fact that more suicides occur now than at any other time of year…still a novel subject matter for a 2 minute pop hit if you ask me."). I stand pretty firm that there's nothing wrong with making fun – even superficially – of the powerful, but the sort of targets the Eversons have chosen this year are generally vulnerable ones, and that's unequivocally straight-up wrong. And so it was hard not to look back and single them out for 'Harlot' and 'Xmas Suicide', even if I thought they had a harmless charm at the start.
Cat Power/Sharon Van Etten
'Cherokee'/'In Line'
Hey, how good was it to get our first decent Cat Power album in close to a decade? Sun isn't perfect by any means but it has a handful of moments of emotional salvation, some great 'songwriterly' moments where Chan Marshall lashes out at the world at large – and 'Cherokee', which sounds at once kinda dated and kinda timeless, serves as her M.O this time around ("I've been a little out of it, but I'm going to attempt a glossy dance record and see how it goes") and ends up at a point far from where I expected it to start – for the first 20 seconds, as Marshall mumbles into focus, it felt like it could have come off Moon Pix or You Are Free.
Which are great albums by the way. And The Greatest and Jukebox, with their weird, tedious rites of smoky soulful authenticity, definitely aren't. Re: The Greatest – never understood why some people were like 'this was the album she was always meant to make' unless they'd always seen her as some sort of Duffy-style antiquarian artifact. The kind that did cloying soul revues, where she would individually introduce the members of her ensemble and have them play some virtuosic little fill while you wait for the actual song. Meanwhile, Jukebox was just painful, nowhere more so than a nauseating easy-listening cover of her own 'Metal Heart'. Imagine if Ian Curtis had lived to be 40, fat, and balding and re-done 'Love Will Tear Us Apart' in 1996 as some 'Champagne Supernova' strum-along – anything to dull that feeling of being young and catatonic with sadness and isolation. Anything to take the edges off the past. Then you'll get a sense of what this self-cover felt like. Jukebox's 'Metal Heart' is possibly my least favourite recording by anyone ever.
In comparison, what makes 'Cherokee' and the rest of Sun enjoyable is a comfort within its own skin. The song's been bagged for sounding ludicrously out of step, from the high-wire 90s AOR drama of its piano refrain to the .wav file bird noises – but I mean, the trip-hop shuffle and Casio beats of 'American Flag' and 'Free' sounded equally off when they came out in 1998 and 2003. Marshall has never been a cutting-edge style pirate on the Bullet Train to Futureville (© Stevie Kaye) , but the sense that she's never really engaging with any zeitgeist, brand new or retro, means she's always an interesting prospect from record to record. She's fucking with her own rep now in a really self-aware and entertaining way, too: watch this video where, once again, she struggles to make her way through a performance without breaking down in front of her audience. Even when they're 6-year olds.
And I'll just mention Sharon Van Etten here because if you liked Moon Pix or You Are Free at all then it's likely you'll adore Tramp. 'In Lines' was one of the few songs to really leave me with a catch in my throat this year.
A couple of years or so ago, the Tampa, FL trio Merchandise were still doing lockjaw hardcore and observing a strict straight-edge lifestyle. In a city that's relatively inured from trends, spending your social time in a subcultural niche that favours thrift and conformity, it'd be easy to keep doing the same thing at blastbeat pace until you didn't, simply looking inward until you grew up. And though, sure, Carson Cox and Dave Vassalanti hit the booze and dairy, growing up really constituted a questioning and repudiation of insularity, of their own scene and the identity politics that came with it – and watching that play out on their sprawling Children of Desire is genuinely thrilling. Songs that owe nothing to hardcore apart from a go-for-broke (but freshly untethered) romanticism, ten minute-plus epics that declare "The music started/I realised it was all a lie/The guitars were running out last year's punk" before becoming operatic industrial piledrivers.
'Time' is really where the wheels leave the ground though, an unqualified bid for anthem stakes that has lots of modern-day indie signifiers (the rickety pulse of old drum machines, peals of alarm-clock feedback reinforcing its choruses) but also has all the messy hugeness of 'Dancing Queen' heard through a transistor – imagine the corkscrewing guitar line that cracks the ceiling about 30 seconds as if it had been a small army of angelic Scandinavian backing vocalists, and you're almost there. Meanwhile, Cox's lovelorn vocal turn seems less like a drippy Anglophilia thing to me and more like an act of Tin Pan Alley showmanship that makes the whole deal a whole lot more make-and-break then we're led to anticipate at the start.
I'm also a fan of the way 'time' stays slippery as a concept here over the course of a few relatively simple lyrical fragments – alternately used to address the persistence of childhood memory ("But when I was a boy/I would have nightmares in the day') as something to be occupied, filled and killed with a grim and careless necessity, and finally something that's slipping away fast. We're still young, baby, but we're getting old. With so many homogenous white guys out there staring down at an array of pedals and mumbling sweet nothings , this is the one I'm going to keep pulling out as the crushing, gorgeous exception to the norm, probably for a good while past 2012.
(Shoutouts to Merchandise and their label Katorga Works, who have made 'Children of Desire' free to download here)
We still know virtually nothing about Lorde – apart from the rumour that she's 16(!!!!!!) and in Auckland, somewhere out there in the suburbs. I'd venture we barely know enough to be cynical – so I'm just going to keep being floored by 'Royals' and its immaculately presented brethren on The Love Club EP. If you make international comparisons (and you should, this is the standard we're talking) and look to the first assemblages of songs from Azaelia Banks and Sky Ferreira, then there's just no comparison in terms of the unity and confidence on offer here. And she's younger than both of them.
'Royals' is one of a very select batch of pop songs to tackle what it means to be young, ordinary and in love with pop music and do so without generating an unreal nostalgia for the present and recent past, or worse, bandwagoneering. The breathtaking naturalism of some of the lines: "My friends and I, we've cracked the code/We count our dollars on the train to the party" sits alongside the glorious cognitive dissonance of blinged-out party music, of commercial rap and Top 40 pop's excesses recast as a medieval bacchanalia: "But every song's like/gold teeth, Grey Goose dripping in the bathroom/blood stains, ball gowns, trashing the hotel room". The keen appreciation of that gap between how we live and what we consume, what we dream of and what can make us happy now, and the value of performance and fantasy somewhere in between, has rarely been isolated and tagged like this. The track by itself, apropos of nothing else but a few "let's make out" placeholders, would have still been great – closest I've heard to the sort of whip-crack coolness perfected by latter-day Robyn. But the lyrical acuteness gives it an amazing gravitas. It already feels like a classic.
Last point, bearing in mind we don't have the full story at our disposal: no NZ On Air funding I can see, no fighting to be heard on theaudience.co.nz's growing signal-to-noise ratio. Just one illustration and five songs and a Soundcloud. If this is all for real, it suggests we sometimes overthink the mechanisms and metrics on which we need to succeed – particularly when no one holds the reins or pursestrings in your ability to market and promote yourself anymore.
Beyond (well, before) 2012, other things I really enjoyed discovering this year included:
Bruce Russell's long-awaited compiliation Time To Go – The Southern Psychedelic Moment: 1981-86. Stuff I had never heard (The Playthings, The Shallows); artists I finally had an incentive to delve further into (Roy Montgomery and The Pin Group); and the towering highlight, the Victor Dimisich Band's 'It's Cold Outside', rivalled their own 'Native Waiter' for beautiful pastoral dread.
Ex-pat New Zealander (now Hollywood film composer) Graeme Revell's 80s industrial outfit SPK, and their transition from making some of the most punishing scorched-earth noise music I've ever heard to eerie, damaged disco built from analogue pings, stutters and shudders.
Bristol outfit More Rockers – one half Rob Smith of Smith & Mighty, one half Peter D. Rose, who provided the first incarnation of Massive Attack with their cavernous basslines. Dub Plate Selection Volume 1 is a prescient combination of breakbeats, dub and r 'n b that feels oddly in situ alongside contemporary UK club music trends.
German experimental composer Conrad Schnitzler's blurry neon autobahn synthscapes, best showcased on the three long pieces that make up Slow Motion.
American country singer Steve Young's career seems pretty typical of a lot of the B-listers of his era – his best known songs rendered by stars like Waylon Jennings and Hank Williams Jr, most of his bank probably still coming from The Eagles covering his song 'Seven Bridges Road' – but his 1969 debut album Rock, Salt And Nails is almost unclassifiable. I'd argue it's much too weird to even be seen as outlaw country, with haunting virtually acapella tracts on ecological devastation ('Coyote') and ornate, lambent heartbreakers ('Kenny's Song') alike.
Memphis rapper Tommy Wright III, who matched bracingly hard and violent crime lyrics to his own mordant and toxic lo-fi MIDI beats and set a sonically-unified precedent for what Main Attrakionz and Lil B are doing 15 years on.
Didn't touch the final Afghan Whigs album, 1965, for way too long – I lived under the misapprehension that they were a spent force by 1998, but the record contains a couple of Greg Dulli's finest songs ('Uptown Again', 'John The Baptist') and makes an effective bookend for the case that they were the best rock band of the nineties. I'll also just note again that The National's trek further and further away from the template the Whigs set them, into a sort of bathetic 30-something every-man's land, has been their spiritual undoing.
Living with Tim Gentles of ROSE QUARTZ this year meant my weekend pottering was set to a metronomically steady diet of early house and techno (and a little too much vaporwave – but whatever, we've got some really good writing and thinkpieces out of it). This rubbed off best when I got my teeth into primitive 1980s Chicago house duo Virgo Four – something about their liminal slace between raw performance and the slick reliability of loops and technology appeals for my need for grit, those traces of human error and exploration.
I also picked up on Scottish 80s girl duo Strawberry Switchblade, who put out an album or so of implacable music – somewhere between arch baroque goth, sixties bubblegum, and mysteriously, J-pop (yeah, they were big in Asia). I also really enjoyed following the cover lineage of their two 'best-known' songs, 'Since Yesterday' and 'Trees And Flowers' – 90s wet-blanket shoegazers Revolver do the former well, and Dum Dum Girls' shot at the latter this year may be their finest moment to date. Both the originals and the tributes hit that weary hint of night-bus optimism as dawn hits the outer suburbs and municipal services shut down. Welcome to the new year.


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Anne Elizabeth Moore
Anne Elizabeth Moore is a USC Annenberg/Getty Arts Journalism Fellow, Weinberg Fellow at the Newberry Library, a Fulbright scholar, and the author of several award-winning non-fiction books including Unmarketable (The New Press, 2007) and Cambodian Grrrl (2011). Co-editor and publisher of now-defunct Punk Planet and the founding editor of the Best American Comics series from Houghton Mifflin, Moore teaches at the School of the Art Institute of Chicago. She contributes criticism to The New Inquiry, The Baffler, N+1p and many others and writes a monthly comic strip for Truthout called Ladydrawers on gender, labor, and culture. Her latest book from Cantankerous Titles, New Girl Law, was called "A post-empirical, proto-fourth-wave feminist memoir" by Bust Magazine.
Other articles by this author
Ladydrawers: The Somaly ProblemBy Anne Elizabeth Moore and Leela Corman, Truthout | Graphic Journalism
Ladydrawers: Out of the Factories Part TwoBy Anne Elizabeth Moore, Ellen Lindner and Melissa Gira Grant, Truthout | Graphic Journalism
Ladydrawers: Thin Line Between Garment and Sex "Trades"By Anne Elizabeth Moore, Ellen Lindner and Melissa Gira Grant, Truthout | Graphic Journalism
"A Very Small Satisfaction": Oscar-Nominated Rithy Panh on Cambodia's Missing PicturesBy Anne Elizabeth Moore, Truthout | Interview
Ladydrawers: The Business of ThriftBy Anne Elizabeth Moore and Julia Gfrörer, Truthout | Graphic Journalism
Ladydrawers: Let's Go ShoppingBy Julia Gfrörer and Anne Elizabeth Moore, Truthout | Graphic Journalism


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Medical and Drug Alerts
Listed below are current and past safety warnings and alerts about medications, medical devices and health products, highlighted by the Palo Alto Medical Foundation.
- West Nile Virus Advisory: California, September 8, 2014
- Mercury Poisoning Skin Care Alert, June 17, 2014
Additional Sites
We do not post every alert, below are some links to other local county and federal sites that post additional alerts.
FDA Recall Website
Alameda Country Health Alerts
Santa Clara County Health Alerts
San Mateo County Health Alerts
Santa Cruz County Health Alerts


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Rockway Institute Staff
Robert-Jay Green, PhD is the Founder and Executive Director of the Rockway Institute. He also is Distinguished Professor in the Clinical Psychology PhD Program, California School of Professional Psychology at Alliant International University—the nation's largest nonprofit training institution for doctoral-level clinical psychologists.
Among his over 70 publications are two co-edited books: R.-J. Green & J. L. Framo (Eds.), Family Therapy: Major Contributions (New York: International Universities Press, 1981); and J. Laird & R.-J. Green (Eds.), Lesbians and Gays in Couples and Families (San Francisco: Jossey-Bass/Wiley, 1996). His main areas of research over the last 30 years have included gay and lesbian couples and families; male gender role socialization; the measurement of couple and family relationship processes; multicultural issues in family functioning; the impact of family relations on children's academic achievement; and couple and family therapy.
Dr. Green previously served as Executive Director and President of the board of the nonprofit Alternative Family Institute in San Francisco (the nation's first counseling center exclusively devoted to LGBT couple and family issues) and as Founder and Co-Director of Redwood Center Psychology Associates in Berkeley (one of the San Francisco Bay Area's leading couple and family therapy training centers).
In 1998, Dr. Green received the award for Significant Contributions to the Study of Family Diversity from the Division of Family Psychology, American Psychological Association. He also received the 2001 award for Distinguished Contributions to Family Systems Research from the American Family Therapy Academy. Most recently, in 2007, he received the award for "Distinguished Professional Contribution" from the Society for the Psychological Study of LGBT Issues -- Division 44 of the American Psychological Association.
Dr. Green has served on the editorial advisory boards of Journal of Family Psychology, Journal of Marital & Family Therapy, Family Process, Journal of Feminist Family Therapy, Cultural Diversity and Mental Health, Journal of GLBT Family Studies, and American Journal of Family Therapy. He is a Fellow of the American Psychological Association and the American Association for Marriage and Family Therapy. He previously served four elected terms on the Board of Directors of the American Family Therapy Academy and served a term as Vice-President of the American Psychological Association's Division of Family Psychology.
For further information and a selected list of publications, visit Dr. Green's faculty profile.


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Morning Brief: Google Music for Xmas, Mark Hurd to Oracle, Samsung Fascinate Available Tomorrow
This series is brought to you by HTC EVO 4G, America's first 4G phone. Only from Sprint. The "First to Know" series keeps you in the know on what's happening now in the world of social media and technology. Welcome to this morning's edition of "First To Know," a series in which we keep you in the know on what's happening in the digital world. We're keeping our eyes on three particular stories of interest today.


text: I request nrpe built into freenas (not as an addable plugin). I installed nrpe in a jail but it is much too limited as it can't get to the devices. It could only monitor cpu and memory. When I hack nrpe onto my freenas box (not in a jail) I can get all the needed monitoring. (smart for each disk / diskfree / zpool health / ups_status) Note - UPS is already well integrated into freenas but some people may want it built into their nagios / icinga monitering system as well. Most dependencies are already there, though the way freenas is built it doesn't think the dependencies are there. What needs to be added to freenas is.. *gettext, libiconv, and nrpe binaries *init file to startup nrpe2 *nagios-plugins scripts (many can be removed, some added like check_mem and check_zpool) *nrpe user *sudo + sudoers file with entries for nrpe user to run smart stuff (which needs root) *gui entry to allow editing allowed nagios / icinga servers and nrpe command definitions *gui entry for starting / stopping the service PS - I am more than willing to help this added to freenas, not sure about the gui stuff but I can definitly help organize some of the other stuff here. THANKS!!!


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Book Search
1-1 of 1 results for Author: leonard i pearlin (sorted by Publication Date, showing all)
Caregiving Systems
Informal and Formal Helpers
Series: Social Structure and Aging Series
Caregiving has emerged as a critical issue in the second half of the life cycle. With the growth of the older population, there have been dramatic increases in the number of people needing care and assistance. The responsibility for care typically falls on families at a time when they have limited...
Published February 28th 1993 by Psychology Press


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|Photo by All Foote III
When selecting which works to include in And Away We Go, McNally said he relied on his intuition and plays that possessed "particular hooks" for him.
And Away We Go depicts the drama of theatre, and McNally, whose works include Master Class, Golden Age and The Lisbon Traviata, also writes frequently about opera. But his writing does not only encompass art; numerous plays he has authored also address political issues, including "Andre's Mother"; Lips Together, Teeth Apart; the book for the musical Ragtime; and the controversial Corpus Christi, a passion play that depicts Jesus and the Apostles as gay men living in Texas. While McNally claims he did not see the "firestorm coming" when Corpus Christi provoked a strong response from the public, he said he appreciates an engaged audience that leaves the theatre discussing the play.
"I think that writers write about what's happening to them in the world that we live in," he said. "AIDS was such a big happening in this [era]… How could you not write about it? It affected everyone in this country, whether they realized it or not. And, of course, it got reflected in my plays."
His next Broadway production, Mothers and Sons, addresses the subject of AIDS as it follows a mother who visits the apartment of her late son's ex-partner, who is now married to another man and has a young son.
"Mothers and Sons is very much a play about a post-age world in which men are married and are raising families and have children, but at what price? And what did they pass through?" McNally remarked. "And you know there was a period of time when a lot of my work reflected on the Vietnam War, which was a huge event when I was in my 20s and 30s, just as the world for gay men and women changed."
Citing Stonewall and the AIDS epidemic as two contributing factors to this change, McNally said, "Suddenly gay men and women were taking their place at the table and saying, 'Hey we're here, too.'"
McNally is optimistic about the future. "[Although] not in my lifetime — I'm 75 — but America will have a gay president one day. It's all changing, between Obama and women and very powerful and effective gay people in Washington like Barney Frank, and I think that the taboos are being broken. Look at the polls. People under 35 — their support of gay marriage is over 75 percent. It's also generational. When you really read a strong opposition to same-sex marriage, it's always from people over 65. The younger you get, it's not an issue. The arts are going to reflect all that and whom we elect to office.
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The National Institute of Standards and Technology hopes its new guidelines for IT security will beget a systems engineering process in which security is intrinsic to product design rather than an afterthought.
The guidelines, posted May 12, offer best practices for information systems security based on international engineering standards. They are the culmination of a two-year process that co-author Ron Ross said was not reactive to specific cyber threats like Heartbleed but rather underpinned by broad security principles.
"I think every ... industry will look at this a little differently, depending on what niche they occupy," said Ross, who is a fellow in NIST's Computer Security Division.
Given the Pentagon's active role in developing the guidelines, defense firms might take a particular interest in how the document is applied. NIST worked "really closely" with DOD in developing the engineering guidelines, Ross said, building on a task force formed with intelligence agencies in 2009 to standardize information security for the federal government.
With a massive federal procurement footprint, how the defense industry applies the new guidelines could serve as an example to others, he added. The final document will have an appendix dedicated to engineering processes for DOD programs.
The guidelines are voluntary and applicable to federal agencies and private firms, which will have to weigh the trade-off between compliance expenses and the branding benefits from touting NIST-compliant products. "We don't want to tell industry how to do their job … but we can ask them to use best practices and point them to things that we think are appropriate," Ross said.
He called investing in an extra layer of security for federal agencies "the heavy lift [that] may be necessary to survive in the modern world of cyber threats."
Public comments on the NIST draft document are due July 11. The agency expects to issue a final version in December.
About the Author
Sean Lyngaas is a staff writer covering defense, cybersecurity and intelligence issues. Connect with him on Twitter: @snlyngaas.
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Article would be more useful if it mentioned the publication number (SP 800-160) and title "Systems Security Engineering - An Integrated Approach to Building Trustworthy Resilient Systems" rather than just provide a hot-link with the date.
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Georgia's defeat and America's options.
This piece originally appeared at joshuatrevino.com. What Mikheil Saakashvili began at his discretion, Vladimir Putin ends at his pleasure. The Russians have called a halt to their offensive in Georgia, and none too soon for the Georgians. What remains is the postwar settlement, and the American part in it. A look at the situation on the ground speaks to the Russian dominance of the little | Read More »


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Crop Insurance – An Important Tool
Texas cotton producer Jimmy Dodson recently told a Farm Foundation forum audience that risk management tools, particularly crop insurance, "are extremely important to cotton producers." Dodson, chairman of the National Cotton Council's American Cotton Producers, was a participant in a panel discussion on "The Future Role of the Federal Government in Agricultural Risk Management" held at the National Press Club.
Dodson says that in many parts of the Cotton Belt, "purchasing adequate crop insurance is often a requirement for securing financing for production costs. In today's environment, we do not see that requirement changing. As such, it is our hope that crop insurance products can be enhanced to further protect producers from events beyond their control."
Most Acreage Insured
The Texas producer says that in 2010, about 95 percent of upland cotton acres were covered under some type of crop insurance and more than 85 percent of insured acres were covered under "buy-up" insurance. Revenue products also have gained in popularity and are now covering more acres than traditional yield policies. The most common insurance choices among cotton producers are revenue products with coverage levels between 60 and 70 percent. Dodson said that while USDA's Risk Management Agency (RMA) has made some beneficial changes to crop insurance products, the U.S. cotton industry believes there are areas for improvement.
Expanded Offerings Encouraged
Dodson added that RMA should continue to look for ways to move towards rate-setting procedures that recognize those investments producers make that reduce their individual risk, such as improved irrigation practices and adoption of seed varieties that incorporate crop protection traits.
Regarding RMA's proposed rule for Area Risk Protection Insurance, Dodson says cotton producers also are very supportive of the Federal Crop Insurance Corporation's (FCIC) efforts to expand the offering of area-wide insurance products covering revenue and yield losses. These will provide an important risk management tool. Producers also agreed with FCIC's decision to incorporate their own yield data, as well as other USDA sources – a move that should enhance the yield estimates' accuracy and reliability.
Efforts Applauded
Dodson expressed appreciation for RMA's efforts to improve the cotton quality loss adjustment provision, based on the Commodity Credit Corporation's Loan Premium and Discount schedule and said the industry is continuing to look at further enhancements in quality adjustments.
He urged the reauthorization in the new farm law of a pilot program aimed at encouraging producers to insure enterprise units – insuring all of their acres in a county under one policy.
The National Cotton Council provided information for this report.
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Deja Blu My Bouquet Rose Bush
by Sexton Rose | Item #: 119033 |
One dormant rose bush. Shipped bare root, ready to plant.
Deja Blu is a timeless hue of lavender pink with a strong fragrance. It will make a bold statement in any garden.
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Good Questions: Bookshelves For My New Green Wall?
We've been remodeling and I'm putting together my new studio! I painted the walls pear green and now I need a place to put my books. What book shelves would be good on my walls?
Who has suggestions?
15 Comments
Bright red laquored bookshelves!!!!!
Some floating shelves would be cool. I definitely like the idea of bright red as well. How about red floating shelves?
I think your desk and the wall color are clamoring for something slick. As such, I'd recommend the Grundtal wall shelves from IKEA: http://www.ikea.com/us/en/catalog/products/00011428
Rather than mount shelves on your walls - why not move the desk into the center of the room and place a nice wood credenza along the wall where you can store your books, printers, Wifi, etc?
I agree that brilliant Reds and Navy Blues would be beautiful in this room - as artwork, draperies, table lamps, area rug, armchair...
I personally can't do red and green - just too Christmas-y, no matter what the shades. I actually like the look of dark, natural wood against something as screamingly unnatural as this; another look, though less warm, is something silver and galvanized - industrial-like (thought Yuliz's suggestion of the GRUNDTAL wall shelves was brilliant).
Definitely floating - no question. Have fun!
How much money do you want to spend?
Use floating shelves paint them deep plum.
All these fruit colours together will be beautiful.
pear / plum / deep pomegranate / prune
Perfect colors for your room.
If you want a real wall of shelves in a nice open floating style
take a look at this, http://dwell.co.uk/104981
You can have a carpenter or do it yourself if handy so it fits your needs exactly. Ikea also sells some large open shelves that you could mount to the wall above the desk.
I like the staggered open look best.
bookshelves made out of green books
Just don't buy the Ikea LACK shelves if you want them to hold much – especially books. Even with drywall screws, mine fell off the wall. Grrr.
White floating shelves to match your white base and doorframe. And some artwork.
What else is in the room? Budget?
I agree with the friends above...no red!
But a deep royal blue laquered piece would look great...
Here's my take on adding shelves to green wall:
stained wood
White LACK shelves from Ikea.
Black shelves will really pop on that color but also the desk looks pretty traditional wood finish....so maybe you should go with something similar in style and color.
check these out from ballard designs


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Print ShareThis
Carson Duffy ′12
Hometown: Charlotte, North Carolina
Major: Urban Studies
Fun Fact: This summer Carson was deported from Argentina.
What got you involved in education?
I thought at one point I wanted to be a teacher, but now I am finding I can make a larger impact on education via other professions. When I was applying to college it was really difficult, but I had a lot of support. I had my parents behind me, my school's guidance counselor, and a counselor outside of school that was helping me apply. It struck me that there were so many people who didn't have those resources. My friend and I had an idea to start a program at our high school to match alums' parents with students to help guide them. Later I started a similar program at Rhodes with Central High School, using Rhodes students instead of parents.
How long has this program been running?
It started in February 2009. Working with the counselors at Central, we picked a group of students who weren't at the bottom but also weren't at the top—who need a little extra information on how to do something with their potential. There are about 30-50 students involved.
We don't focus on just getting them into college, because for some of them that's not an option or what they want to do. This summer we're going to have a job fair. That's one goal I had—to have a group of employers who are hiring for the summer, including Rhodes, meet these students. Then letting these kids have first pick with the idea that they've had job training.
What's the goal of your work?
My vision is to creatively transform public education so that it can be used as a means of infusing hope and success in students. By giving them the power to use their knowledge and abilities to expand and improve their own lives, students will have the tools to inspire their families and communities to search for their own passions and act. I want to make the dreams of all students—specifically underserved students—a reality.
Do you work only outside of Rhodes? Or are you involved on campus as well?
On campus I'm one of the co-moderators of the Kinney Program. Kinney is a group of students who are active in service, and it helps match students with volunteer organizations. We'd really like to see the Kinney Program become an organization that students can sit down with and figure out what service would be meaningful to them.
I think sometimes Rhodes students go out and volunteer but don't necessarily know why, or maybe they had a bad service experience, which turns them off to volunteering completely. If we could really help students figure out why they want to volunteer and what kind of people they're interested in helping, I think it could improve how we think about service here.
Tags: Archive
Anne Davison December 4, 2010
What an inspiring effort. Thanks so much for the story.


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Cold case detectives made an arrest in a sexual assault case that happened back in 2007.
The suspect, 40-year-old Ryan Raths, was a teacher in the Washington School District.
Police say Raths would meet women on social media sites and then rape them.
One case was reported to Phoenix Police in 2004, the other case out of Glendale in 2007.
The cases went cold, mostly because one of the victims didn't want to cooperate with police. But this year, another detective looked at both cases, saw patterns and started investigating again. That's when they say other victims came forward with a similar stories.
Raths was arrested by Glendale Police. According to records, Raths is a 4th grade teacher at Roadrunner Elementary School. He's also the lead singer of a popular valley band called Hollow.
"I was shocked to see what his charges were," said Travis Maille, the suspect's neighbor.
Neighbors say undercover investigators were watching Raths' house near 59th Avenue and Union Hills. On Thursday, police moved in.
"There was a lot.. upwards of 15 or so different cars," said Maille.
The Washington School District says Raths took leave a few weeks ago before his arrest. They also point out the allegations against Raths involve adult women, not kids.
"He's been a wonderful neighbor and I've gone to see him in concert and he's just an all about good guy from what I've known him," said Maille.
Police say Raths was booked on sex assault allegations involving two victims and confirm they're investigating other cases.
Raths is being held without bond.
WTTG FOX 5 & myfoxdc5151 Wisconsin Ave. NWWashington, DC 20016Main Number: (202) 244-5151Newsroom: (202) email@example.com


text:
Press Association
A showjumper in action at the Beijing 2008 Olympics.
Equestrian - Jumping
Jumping, which is more widely known as showjumping, is arguably the most popular of all the equestrian disciplines.
However, the sport only developed out of necessity in England in the 18th century when the Enclosures Act passed by the government meant that fences were built across the countryside and so riders taking part in fox hunting were forced to adapt and took to jumping over the fences.
Jumping as we know it today was the first equestrian discipline to be included at the modern Olympic Games.
At Paris 1900, an 850-metre long jumping competition involving 22 obstacles was held alongside one-off events like the high jump and the long jump, which were won with distances of 1.85m and 6.10m respectively.
After being dropped from the Olympic programme for 12 years, jumping eventually returned along with the other equestrian disciplines - dressage and eventing - in time for Stockholm 1912.
The event was only open to male cavalry officers initially until Helsinki 1952, at which point civilians - both men and women - were invited to compete on equal terms against each other.
The competition format of the jumping involves riders and their horses aiming to complete a course of between 12 and 14 jumps, incurring penalties for knocking an obstacle down, being over the time limit or for a horse refusing a jump.
At the Olympics, riders compete individually and as part of a team. The medals in the team competition are decided by the opening two rounds, before the field is shortened for a further three rounds to determine the medal placings in the individual event.
If two or more competitors are tied in first place after the final round then a jump-off is used to decide the winner.
Latest News
LONDON - The IOC has decided to hold a conference on the role of the World Anti-Doping Agency amid increasing tensions over how the fight against performance-enhancing drugs is being run.


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is the fruitiness like apples?
I'm sure the fruitiness is from the malt. You mashed to high...I would have went for 148-150°F for this beer. There is also no reason to do a decoction with those already malty modified grains. I'm suprised it's not overly malty, actually.
Some fruitiness may have came from the yeast, but at those low temperatures, the 2112 should ferment pretty clean. I've used it for a black lager and other "pseudo-lagers" a few times and it always turns out nice and clean.
EDIT: You may wish to ask a mod to move this out of the recipe forum. The recipe forum is supposed to be for tried-and-true recipes and it appears this one didn't come out as you expected.
You were originally disappointed with the brew before you made your edit, so I offered a suggestion. I disagree that a mash temp difference of 4° will not make a significant difference in a brew, but I am happy that you are pleased with the results and that your process worked out as you had intended.


text:
"Bobo the Clown" Bleeding Zombie Target
Item # WX2-232372
- Google+
You must be 18 years of age to purchase this item.
Shipping restrictions apply to this product under some jurisdictions. Known age, state and local shipping requirements are applied at checkout and may result in changes to an order.
- Details & Specs
Bleeding Zombie Targets. The next level in horror... and practice - makes - perfect target shooting!
A life-sized tactical mannequin Target, packed with extra zombie horror fun! Ready to take plenty of punishment at you and your pals' next shooting get-together.
Shot after shot breaks off chunks of bloody zombie "flesh" so you know when you hit. We can hear the moaning of the undead hordes already!Purge the infected:
- Life-sized Zombie Target actually "bleeds" when you shoot it
- Biodegradable material construction means less clean up at the end of your day
- Each Zombie can be shot with more than 1,000 rounds of assorted calibers
- Includes wood stake for mounting your Zombie
- Printed box has a standard shaded scoring line to help zero in your gun.
- Targets color may vary.
Enrich your target-shooting for any zombie fan! Order ONLINE Today!
- Reviews
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text:
Hello from my cruz tablet from andrid.
In a few weeks a mass migration will take place as a new crop of kids gets geared up for college. Sony teamed up with Microsoft to put new VAIO® S series laptops in the hands of 15 college bloggers and asked them to complete a summer homework assignment. The challenge: For up to 15 hours, they would put the VAIO S laptop with the optional sheet battery attached to the test doing whatever it is that college students do without plugging it in to a power outlet. That's right, with the sheet battery attached, we asked the bloggers to avoid searching for power sources and instead call on the power of the added sheet battery the entire day. How did they do? As you can see, some veered from the homework assignment but each has a valuable point of view from an unboxing to a photo tour and music playlist to help document the day.
Everyone loves a good unboxing video so to kick off this post we wanted to share this one from the folks at College Grotto.
Many students will travel far from home to get to their college campus. Brett from College Cures took the VAIO SB series on the road for a cross country adventure. See how the VAIO laptop helped contribute to an awesome trip, even with a 3 hour airport delay.
Doug from Cheap Scholar documented his 15 hour day with a photo show and music play list. If you're a Dave Matthews fan, you don't want to miss this one. You can also look for a "day in the life" from Parent's College Countdown.
Alex from the University of South Carolina points out how awesome it is to live "in a world free of tangled power cords and low batteries". Yes, there is nothing worse than getting wound up in a nest of wires and having to keep track of all those power cords.
Many of you spoke up when we shared the SGNL by Sony video comparison of the MacBook® Pro vs VAIO S Series. Take a look at these posts from Doug from the College Info Geek, Jeff at Edudemic, Honest College and Her Campus for other points of view that put the two laptops head to head.
Check out Gear Diary's 15 hour torture test. Blogger, Michael provides clear power plans and various operating conditions to squeeze out just over 15 hours of power.
Shep from Hack College title his blog "Insane battery life makes VAIO-s series great for students" Read his account that includes some thoughts on video and gaming use on the VAIO S Series.
For parents on the search for the right laptop for their college bound kid, here are seven things to look for when searching for the perfect computer for your college student from University Parent and a detailed review by the team at College Survival.
Finally, the Noell and Shanilla of Campus Splash do a nice walk through of the VAIO S Series via a video blog. Ladies we love your vlog and forgive you for having the VAIO logo upside down the whole time.
Now tell us your story. Are you off to college or sending a student away for higher education? How will you use your laptop computer and would it be able to keep up with a 15 hour day? If you're a VAIO owner, send us a link to a photo of you and your laptop. And for those of you interested in checking out the VAIO S Series check out a bonus offer at Sony Store until September 17, 2011 to save money on the VAIO S and sheet battery.
* Estimates only based on Sony engineering testing with solid state drive (SSD) configuration. Actual performance will vary based on configurable options, environmental conditions and usage. Battery capacity decreases over time and use.
Hello from my cruz tablet from andrid.
Hello back!
i love my vaio
Thanks a million for the comment! Which model do you have?
I have a Vaio X-Series with the included large capacity battery (8200 mAh) and I can use it all day without ever bringing the charger. It lasts about 12 hrs (no optimism here) plus 2 hrs on the smaller battery on heavy use. While the CPU is a little underpowered on my X, I really love the fact that Sony laptops have been improving the battery life on their newer models. Thanks to the VAIO, my life in college has gotten a lot better. Thank you Sony.
Thanks for stopping by the blog and for sharing your story! How long have you been a VAIO owner?
I love my vaio. I was wondering is there a timber option on the webcam, if so how do you set it up?
Hello! Thanks for the comment. Always great to meet fellow VAIO fans. I'm actually not familiar with a "timber" option, so I'll check in with the VAIO team and see what they recommend. In the meantime can you tell me what that option does?
I just purchased a Vaio VPCF2390X, it's being shipped to me now… what is the difference between the F series and S and the other series?
I use mine for college, graphics, videso. My pc comes with a 1 gig dedicated video chip (yeah, cool) & 8 Ram. Can't wait to get it. I was told one difference is weight.. but what else? This pc is supposely in the top 300% worldwide laptops made..so I know I got a good one… Is it better than the other series?
Congrats Doug! Is this your first VAIO? I'm looking forward to hearing from you after you've had it for a while. You have some great questions. One of the key differences between the F and the S is portability. The S is smaller, lighter but still powerful. I thought what might be best is to point you to a really great guide for all of our VAIO models. You can compare the features that matter most to you for each of the machines. Check this out: and make sure to watch the video guide. It goes a great job breaking down the differences http://ow.ly/913YE . Will you send us an unboxing video or something once your VAIO arrives? Keep in touch.
Sony Help or Support For questions or comments related to support, please click here.


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Combined MD / MPH Program
The combined MD/MPH program is conducted under the joint auspices of the School of Medicine (MED) and the School of Public Health (SPH). It is a flexible program that combines traditional MD preparation with in-depth work in one of the following areas of public health: health services, environmental health; health law; epidemiology and biostatistics; and health behavior, health promotion, and disease prevention.
For more information please visit: Combined MD/MPH Program
For specific information or questions regarding the MD-MPH program, contact:
Wayne W. LaMorte, MD, PhD, MPH
Director, MD-MPH Program
Boston University Medical Center
715 Albany St., Talbot Building, Room 510 East
Email: email@example.com
Telephone: 617/638-5073
For further information regarding admission to the School of Public Health contact:
Office of Admissions
Boston University School of Public Health
Talbot C202
715 Albany Street
Boston, MA 02118-2531
Telephone: 617/638-4640
Fax: 617/638-5299
Email: email@example.com
Web site: http://sph.bu.edu/mdmph


text:
Approximate size: 6 x 5.2 cm
Unfortunately this product is currently not available.To the Boutique Finder
Pure seduction! This stainless steel bangle features polished black metal enhanced with an outline of clear crystal pavé and a door knocker ring. Trendy yet modern and minimalistic, this is a real eye-catcher.
Article no.: 5017128


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Giving what's called a "Victim Impact Statement" in court
is one of the hardest things anyone who has been a victim of crime will do.
Facing your accuser. Telling them just how much they've
hurt you. Laying your soul bare in front of someone who has destroyed your life
or a part of it.
It's not easy.
I know.
Last year, I gave one.
Standing less than twenty feet away from a career criminal
who victimized my family and made me cry more tears than he will ever know, my
voice trembling, my hands shaking I explained to him exactly what he had done
to us that fateful day.
Armed with a row full of very close friends – who somehow
ended up sitting behind me giving me a "we've got your back" feeling – my voice
breaking, tears flowing, I somehow managed to get all that hurt out.
Having witnessed countless of these as a reporter, I had
gone prepared for the worst. I imagined him smirking, smiling; maybe even
laughing at me as I cried. I also imagined him not even looking at me as I
spoke and showed pictures that highlighted the damage done by his drug-fueled
actions. So many criminals don't even look at their victims. I had seen it so
many times.
But much to my surprise, he did look at me. He listened
attentively, looked at every picture I showed and when I started to cry, so did
I didn't expect it – no one in the courtroom did.
He chose not to speak so I don't know why he cried or if he
felt remorse at his actions. I know it wasn't for the court's sympathy since
this too was a plea agreement and nothing would change the sentence we had all
agreed to.
A friend in court suggested he was probably crying because
he realized he was going away for a long, long time. Maybe.
I'll never really know. I do know that his tears and that
small act of common courtesy – looking at me as I spoke - helped in the
healing. It helped a lot.
And while I had seen so many of these courtroom dramas
before, now that I have lived thru my own, I will never look at them the same
Today I watched as Bryan Stow's family bravely stood there
and spoke for him since he no longer can.
You would have had to have been made of stone to not feel
the pain in their words as they detailed what the once healthy and vibrant
father of two's life is now; locked in a wheelchair, in a body that no longer
responds the same way. Unable to play ball with his kids; unable to perform the
simplest and most private of functions by himself.
It was very sad and my heart hurt for them.
But so much worse was what was happening in front of them
as the man who had just pleaded GUILTY and I capitalize that because it is key
here: GUILTY to beating Bryan Stow, their loved one into permanent disability
and forever changing all of their lives sat there and smiled.
And smirked!
And looked away as if he had more pressing things to do;
more important places to be.
Yes, that's what Louie Sanchez did. Repeatedly.
His co-defendant Marvin Norwood, who also pleaded guilty to
a lesser charge, at least showed some respect by looking at the family as they
spoke. He made no gestures and as far as I could see, paid attention as each
person spoke.
Back to Sanchez, whom the judge repeatedly called a coward,
and from whom there were no signs of remorse; common courtesy; humanity. None.
Not a single gesture to indicate that he was sorry and that
might have helped just a little bit in the healing process.
Perhaps Bryan's sister Erin put it best when she said "How
can we even begin to consider forgiveness when you aren't even asking for it?"
How does one forgive someone who isn't sorry?
To follow Bryan
Stow's story and recovery: http://support4bryanstow.com/
(FOX 11 / AP) Two men who pleaded guilty to the 2011 beating of San Francisco Giants fan Bryan Stow at Dodger Stadium have been sentenced in Los Angeles.
Judge George Lomeli excoriated smirking convict Louie Sanchez and handed him an eight-year state prison term Thursday, with some credit for time served.
Co-defendant Marvin Norwood received a four-year sentence. He also received credit for time already spent in custody and it was unclear if he would be immediately released.
Stow was left permanently disabled by the beating.
THIS IS A BREAKING NEWS UPDATE. Check back soon for further information. AP's earlier story is below.
Two men pleaded guilty Thursday to a 2011 beating at Dodger Stadium that left San Francisco Giants fan Bryan Stow brain damaged and disabled.
Defendant Marvin Norwood pleaded guilty to one count of assault likely to produce great bodily injury. Co-defendant Louie Sanchez, saying he kicked and punched Stow, pleaded guilty to one count of mayhem that disabled and disfigured the victim.
Both were to be sentenced after a judge heard victim impact statements.
Stow, a 45-year-old paramedic from Santa Cruz who attended the 2011 opening day game in Los Angeles between the Dodgers and the Giants, was beaten nearly to death in a parking lot after the game. He suffered brain damage and is permanently disabled, requiring 24-hour-a-day care.
The beating prompted public outrage and led to increased security at Dodgers' games. A civil suit by Stow is pending against the Dodgers organization and former owner Frank McCourt.
Sanchez and Norwood were arrested after a lengthy manhunt that briefly involved the arrest of an innocent man. The two acknowledged their involvement during a series of secretly recorded jailhouse conversations.
Norwood was recorded telling his own mother by phone that he was involved and saying, "I will certainly go down for it."
The words the two men spoke in a jail lockup, unaware they were being recorded, were played at a preliminary hearing as they were ordered to stand trial on charges of mayhem and assault and battery.
In a 12-minute conversation, Sanchez acknowledged he attacked a Giants fan, and Norwood said he had no regrets about backing him up.
"I socked him, jumped him and started beating him," a transcript of the conversation quoted Sanchez, who also apologized to Norwood for dragging him into the fight.
"That happens, bro," said Norwood. "I mean, what kind of man would I have been if I hadn't jumped in and tried to help you."
Witnesses testified about the parking lot confrontation, saying Stow was jumped from behind and his head crashed to the pavement.
Witnesses at the hearing said Sanchez taunted Giants fans throughout the game.
Two witnesses who attended the March 31, 2011, game told of being bothered by Sanchez, who was throwing peanuts and spraying soda on a woman in the bleachers. His sister testified that Sanchez was drunk.
Corey Maciel, a fellow paramedic who came with Stow from Northern California to cheer for the Giants, told of seeing his friend attacked and throwing his own body over him to prevent further harm.
"As soon as he was punched, he was unconscious and fell back on his head," Maciel testified. "He was unable to brace himself. I saw his head bounce off the concrete. I heard the crack."
The assailant then kicked Stow in the head at least three times and again in the torso, according to the testimony.
Maciel said he heard profanities and one person say, "(expletive) the Giants. That's what you get."
"I threw my body over Bryan's head to stop any more physical contact," Maciel said.
Another friend, also a paramedic, held the injured Stow's head to protect his spine. But he had already suffered devastating injuries.
Last spring, Stow returned home after two years in hospitals and rehabilitation centers. His family said he requires constant physical therapy and remains severely disabled.
KMSP-TV11358 Viking DriveEden Prairie, MN 55344
Phone: (952) 944-9999Fax: (952) 942-0455


text:
Part twoooo! Since one photo entry cannot hold so much photos! Haha! :) Basically her debut was a non-conventional one we all usually attend. No 18 roses, no formal attire, no you know (haha). It was all fun fun fun, bowl bowl bowl, and a whole lot of unlimited food (YES UNLIMITED SUSHI AND MANGO CREPES HELLO) There was also a Zac Efron cut out you could take photos with, a funky photobooth, KTV, and a candy bar! Makes me want to turn 18 all over again and have a chillax fun debut just like this! :)
(Source: elbeef)


text:
42 U.S. Code § 5031, 5032 - Repealed.
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Section 5031,Pub. L. 93–113, title III, § 301,Oct. 1, 1973, 87 Stat. 404, set out Congressional statement of purpose in enacting this subchapter.
Section 5032,Pub. L. 93–113, title III, § 302,Oct. 1, 1973, 87 Stat. 404, authorized Director to establish, coordinate, and operate national volunteer programs. See section 637 of Title 15, Commerce and Trade.
Effective Date of Repeal
Repeal of sections 5031 and 5032 effective Oct. 1, 1979, see section 105 ofPub. L. 95–510, set out as an Effective Date of 1978 Amendment note under section 634 of Title 15, Commerce and Trade.
The table below lists the classification updates, since Jan. 3, 2012, for this section. Updates to a broader range of sections may be found at the update page for containing chapter, title, etc.
The most recent Classification Table update that we have noticed was Tuesday, August 13, 2013
An empty table indicates that we see no relevant changes listed in the classification tables. If you suspect that our system may be missing something, please double-check with the Office of the Law Revision Counsel.
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text: Comment: this jacket is everything as described. I never thought I could buy a jacket on line and be satisfied with fit and comfort, but it's really nice. Like the full sleeve lining as I live in a cooler climate and mornings start out usually in the forties. Didn't realize the jacket graphics were somewhat sparklie, but I have received favorable comments not only about the sparkle, but the visibility on the road.


text:
Availability: Usually Ships Within 24-48 Hours
Heritage The Palma Christi Castor Oil Hexane-Free - 4 oz. (120 mL)
Castor Oil has been used in many cultures around the world for over 3,000 years. In old herbal texts, Castor Oil is called the "Palma Christi", Latin for the palm of Christ and has many healing properties. Doctors at the former A.R.E. Clinic, under the guidance of Dr. William McGarey, used Castor Oil for virtually every aspect of health. In response to customer inquiries, Heritage's Pure Castor Oil can be taken internally.
The Heritage Commitment Heritage Store
For over 41 years the Heritage has offered quality products for your health, beauty and wellness at affordable prices. Heritage's unique holistic approach to wellness provide natural solutions to your health, skin and hair care needs. Many of our Heritage labeled products are gluten free.
Complete supplier of Edgar Cayce Products
Edgar Cayce (1877 - 1945) is the world's most documented psychic. He is know as the "Father of Holistic Medicine" because of the pioneering information he gave in his more than 14,000 readings. Edgar Cayce always encouraged manufactures to improve their products. At the heritage store they have done this with a number of products while maintaining and following the basic formulas and principles from the readings.
Purity and Manufacturing
Heritage emphasizes purity, quality and synergy above all. They adhere to the strictest manufacturing guidelines in order to provide the highest quality products. They screen ingredients and finished products multiple times to ensure the they ship only the purest, most effective products to their satisfied customer friends. Eco-friendly and cruelty-free, they never test on animals.
Pack Directions: Saturate flannel and place over abdomen or other areas. Cover with plastic and apply heat to support absorption.
Other Uses: Massage into any area where softening and soothing are desired.
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Bills' Jackson improving quickly
by Joe Buscaglia
posted Sep 21 2012 1:35PM
On Thursday, Buffalo Bills head coach Chan Gailey told reporters that Fred Jackson was a bit ahead of schedule. As reporters were being escorted out of practice on Friday, Jackson looked fairly fluid in his movements on his injured knee.
Jackson, now only 12 days removed from a sprained LCL, participated in change-of-direction and agility drills with trainers watching. Sporting a brace on his injured right knee, Jackson made cuts and didn't show much hesitation in the few repetitions that were seen.
The running back was originally scheduled to miss anywhere from three-to-eight weeks. There has been no updated timetable for a potential Jackson return, but the 31-year old has had a positive week of practice that have allowed thoughts of a rapid recovery to creep in.
Jackson has been ruled out for the Bills' upcoming contest versus Cleveland.
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