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Where to purchase: Available on Yesstyle HERE
Also Available on Stylevana: (UK): HERE / (FR): HERE / (EU): HERE / (GE): HERE / (CA): HERE / (AU): HERE / (US): HERE
Price: ~£20
Volume: 100ml
Made in: South Korea
What is it?: A moisturising Cream containing Japonica Root (Medicinal Herb). Supposedly also suitable for babies.
Brand Description: A Mild Yet Effective formula that delivers moisture to even sensitive skins. This has a non-sticky, non-greasy formula that is easily absorbed into the skin, leaving it moisturised + supple. It also cools + soothes the skin.
Do I agree?: I agree with most of the above statement! As long as too much product isn't applied, this is non-greasy and I think it does actually provide a cooling effect to the skin upon initial contact.
Supposedly Good for: All Skin Types (Including Oily + Acneic Skin)
What I think: I think this suits Dry and Combination-Dry Skins OR Combo-Oily skins living in Dry Weathers. That is because this has a creamy texture that works to moisturise the skin better than hydrate it. I have Oily-Combo Skin and prefer to use this as a PM Winter Moisturiser.
I also think those who have irritated skin from Retinol or Shaving may fine this cream stings a bit. But sensitive skins could use this.
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Vegan?: Yes
Cruelty Free?: Yes
Packaging: Glass Jar with a Plastic Screw-top lid. Did not come with a spatula.
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Directions: Use in the AM and PM at the last step of one's skincare routine (before SPF in the AM), tap in gently to maximise absorption.
How I use it: I use this in the PM as a Moisturiser. I've also used it as a Makeup Primer (to prep the skin before Foundation) and it did not ball up / I didn't have issues with it. This has more of that Shea butter rather than silicone texture so it's very creamy and less watery, meaning that I don't need to put too many product on the skin before applying this moisturiser otherwise it might feel like too much. A little goes a long way with this cream as well! I think it would last a long while since little is needed to spread so far.
Key Ingredients: Coptis Japonica Root Extract (An antioxidant + Soothing). This plant extract is used in East Asian Medicine as it seems to have antibacterial properties. It doesn't mean that this cream doesn't tingle when applied to recently sensitised (either by shaving the face or over-using high % retinol) skin.
Jojoba seed oil is an emollient and helps give that soft finish to the skin + Butylene Glycol helps with Hydration.
Full Ingredients: Coptis Japonica Root Extract, Butylene Glycol, Simmondsia Chinensis (Jojoba) Seed Oil, Polyglyceryl-3 Methylglucose Distearate, Cetyl Ethylhexanoate, Butylene Glycol Dicaprylate/Dicaprate, Isohexadecane, 1,2-Hexanediol, Cetearyl Alcohol, Glyceryl Stearate, Butyrospermum Parkii (Shea Butter), Sodium Acrylate/Sodium Acryloyldimethyl Taurate Copolymer, Polysorbate 80, Glyceryl Caprylate
NOTE: The Incidecoder have a full ingredient breakdown HERE
Video Swatch:
Texture: Upon Initial contact, this feels cooling/refreshing!
I would like to add that Shea Butter is an ingredient I'm not the biggest fan of. It usually makes the creams feel thicker and less viscous on the skin. Usually this ingredient steers the cream to suiting more dry skins. Of course it depends how much Shea butter is actually added into the product, but I will say that I could tell this product had Shea butter before I checked the ingredients (just to give you an idea of the texture).
I would still call this a lightweight cream, but it is a cream. I.e. it doesn't run down my hand, it's emollient, it's viscous and it does form barrier between your skin and the outside world.
This is definitely moisturising, I don't have layering or texture issues and actually a little goes a LONG way so this tub could last a good long while! (I've been using this for about 3 months and I'm only half way).
But this creaminess does mean that I don't like to use it in the Summer or in the PM. I prefer it when I have a short PM skincare routine and just want to whack on a moisturiser and go to bed. This definitely is moisturising without making me feel uncomfortable or like my skin can't breath, as long as I don't have too many skincare products on underneath and as long as it's not a hot or humid day.
Hopefully you can see how smooth and creamy this product is. There is still some decent hydration there.
Hopefully you can see what I'm talking about when I say I can feel/tell that there is Shea Butter in this. It has that sort of texture where it takes a bit of massaging to get the product fully into the skin. It definitely makes the moisturiser "creamy" and less watery than something like the Curel Cream.
Before and After
Hopefully in the before and after pictures – you can see that this does absorb into the skin and DOESN'T make the skin look overly greasy or oily. No it's not mattifying, but it doesn't make my skin look incredibly shiny either. It does make the skin feel nice and soft.
Video Swatch
Layerability: Yes this is fine to layer. Doesn't ball up or pill, hence why it makes a decent makeup primer! (but no oil control).
Stings the Eyes?: No!
When/If the skin is sensitised?: If the skin is very irritable due to retinol, I find that this does kind of sting or "tingle" so it's better for sensitive (not sensitised) skins.
Summer or Winter?: For me this is a Winter Moisturiser (Combination Skin). So Oily Skins may also prefer in the Winter. Dry skins would find this suitable as a Summer Moisturiser.
Fragrance?: Fragrance + Essential Oil Free (This just smells of a cream)
Good Under Makeup?: Yes! Very similar to the Glossier Priming Moisturiser Review HERE – Meaning that this is good as a primer! (No oil control however, so more suited to dry skins and dry weather makeup).
How long have I been using this?: For about 3 months (and I'm only halfway! A little goes a long way).
The Effect?: Moisturised and Lightly Hydrated Skin (no special changes, but this does the job!)
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What I like:
- Didn't irritate my skin
- Moisturising
- Fragrance + Essential Oil Free
- Makes the skin feel soft once absorbed
What I don't like:
- Just a little too thick for me to use in the summer. And also I wouldn't use this in the AM.
- Wish it came with a spatula
- Not too hydrating or watery
- No added Peptides/Actives etc (but I understand this is aimed at sensitive skins)
Overall Rating and Conclusion: 4(very close to 3.9)/5 – I like that this is unscented, I like that this doesn't sting or irritate the skin (unless my skin is sensitised by retinol and already is in a bad position). And this is moisturising for my oily-combo skin in the PM During the Colder Months.
BUT I just find it slightly too thick (to use as an AM Moisturiser / Summer Moisturiser) – It's the Shea butter I'm not a fan of and it pervades so many creams I try and ultimately prevents me from ADORING the product. I think Dry skins and Comb-Dry skins would eat this up however. It's very simple and basic, all it aims to do is moisturise and I think it does that well!
Would I repurchase?: No because I prefer a cream that's just a tad bit lighter (like the Krave Oat so Simple Water Cream, Review HERE).
Dupe?: The Glossier Priming Moisturiser: HERE (I also find it slightly lighter than the Pyunkang Yul Cream). Also very similar in texture to the COSRX Propolis Light Cream HERE
My Skin Type: I am acne prone and have slightly dehydrated combo skin. My skin is usually tight where the cheeks and eye area is and the outer parts of my face. My T zone is oily. My skin isn't a fan of thick/heavy formulas so I opt for lightweight formulas to prevent it from clogging up. My skin doesn't like essential oils either and I try to avoid fragrance when I can.
Disclaimer: I am a skincare enthusiast and not a skin expert. I am not qualified to give out dermatological advice. This type of advice should only be given by a medical practitioner. Upon trying / using any of the reviewed products on the blog, please follow the manufacturer's instructions and warnings and please seek medical advice if needed.
Note: I earn a small commission when you purchase through affiliate links, which helps me purchase products for review + also help improve the Blog! If you would like to support me, thank you ever so much! and if not, that's fine – I hope you enjoy my posts!


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GameDay Caterwaul: Florida Panthers vs Carolina Hurricanes
Cats will try to weather the storm and keep the dream alive
Panthers (26-24-8 60P) vs Hurricanes (31-23-6 68P)
- WHEN: 7:00 p.m. ET
- WHERE: BB&T Center - Sunrise, FL
- ON THE TUBE: FOX Sports Florida, FOX Sports Southeast
- ON THE DIAL: 560 WQAM (D/B), 640 WMEN (PB), 1370 WAXE (TC), Thunder 100.3 (Keys)
- SOCIALS: #FlaPanthers, #TakeWarning, #CARvsFLA, @LitterBoxCats, LBC FaceBook
- ENEMY INTEL: Canes Country
- FLA IN SEASON SERIES: Game 2 of 3 (0-1-0)
- LAST MEETING: @CAR 4, FLA 1 (Recap) - 11/23/2018
- NEXT MEETING: March 2, 2019
- PROJECTED STARTERS: Reimer (13-10-5 .903/ 3.01 0SO) vs Mrazek (13-12-3 .902/ 2.63 3SO)
- PLAYER STATS: Florida / Carolina/
Scouting Report (Courtesy of Field Level Media)
The Florida Panthers have won three straight games, and they have done it with some spectacular goals.
At the top of the list is the between-the-legs trick shot scored by Aleksander Barkov on Sunday against the Montreal Canadiens. Second-place during the stretch belongs to Jonathan Huberdeau, who faked out at least two if not three or four members of the Buffalo Sabres in Tuesday's 4-2 victory.
Barkov, always modest, had this to say: "I think (Huberdeau's goal) was nicer than mine. Beating three of their guys and their goalie, too, and he had a better celebration than mine."
On Thursday, the Panthers (26-24-8, 60 points) will get a chance to extend their win streak and their run of great goals when they host the Carolina Hurricanes(31-23-6, 68), a team they are chasing in the Eastern Conference.
Neither team is in playoff position at the moment, and Carolina's 2-1 loss to the New York Rangers was costly.
Still, the Hurricanes are playing well, winning six of their past eight games. In fact, since Dec. 31, the Hurricanes are 16-6-1, and Carolina coach Rod Brind'Amour was upbeat after his team's narrow loss to the Rangers.
"That was the best game we've played in the past seven or eight," he said. "It didn't work out, but if we play with that mindset and play that hard, I think we will be where we want to be at the end of the season."
The Hurricanes have outshot their opponent in 120 out of 180 periods in regulation this season.
In addition, Carolina goalies Curtis McElhinney and Petr Mrazek have been brilliant, posting a 1.17 goals-against average and a .960 save percentage over the past six games.
Florida goalie James Reimer has been hot lately, too, winning three straight games. During that stretch, he has stopped 101 out of 108 shots.
Panthers starting goalie Roberto Luongo, who was on the bereavement list for the Montreal game, has returned to the team and could be in between the pipes against Carolina.
Offensively, the Panthers got eight points on Tuesday from their top line of Barkov, Huberdeau and Frank Vatrano.
"They were great," Panthers coach Bob Boughner said after his top line helped subdue the Sabres.
By himself, Barkov has seven points in the past two games. He leads the Panthers with 60 points this season, and he is among the NHL's best in the margin between penalties drawn and penalties taken.
It's also interesting to note that the last time the Panthers had five 20-goal scorers was in 2015-2016. They have four 20-goal scorers already this season, and Huberdeau (15 goals, including two on Tuesday) could get there with a hot finish.
The Panthers, though, lost top-four defenseman Mike Matheson to a lower-body injury on Tuesday. His status for Thursday has not yet been determined.
"He eats minutes," Boughner said of Matheson. "He's been playing his best hockey in the second half of the season. You can't replace a guy like 'Matty.' We have to support him until he gets back."
The Hurricanes, meanwhile, have been without standout center Jordan Staal, who scored four goals in Carolina's first five games this season but has been out since Dec. 22 due to a concussion. He appears to have a shot at returning Thursday, though his status remains unclear.
Thursday in the Atlantic (Standings/Panthers Playoff Chances):
- Washington (33-20-7 73P) at TORONTO (36-19-4 76P) 7 p.m
- OTTAWA (22-32-5 49P) at New Jersey (23-29-8 54P) 7 p.m
- Philadelphia (28-25-7 63P) at MONTREAL (32-21-7 71P) 7:30 p.m
- BUFFALO (28-24-7 63P) at TAMPA BAY (46-11-4 96P) 7:30 p.m/
Idle: BOS (80P), DET (55P)
Panthers, SoFla Media & Loyal Opposition on the TweetsA Twitter List by LitterBoxCats

subset: commoncrawl


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The Baltimore Ravens are awaiting injury news on running back J.K. Dobbins, who suffered a nasty looking knee injury in the team's 37-3 preseason win over the Washington Football Team. The second-year player was hit low after catching a screen pass, immediatly grabbing for his knee once he went down.
If Dobbins misses any time on the field, it's a big blow to Baltimore's offense. Many are expecting him to break out in 2021, and a player of Dobbins' caliber makes the Ravens' a better team. However, not all is lost even if the former Ohio State University star is sidelined. In fact, they are in rather good hands with fellow running back Gus Edwards.
Although the team would miss Dobbins and his balance, agility, cut back ability and power, Edwards is a well-rounded runner who has improved in each of his first three seasons at the NFL level. Widely regarded as a pure north-south runner out of the Rutgers University, he has added a plethora of different things to his skill set, including cut back ability, improved vision, receiving skills and much more.
Edwards is also a beacon of consistency, never averaging below five yards per carry in each of his first three seasons as a professional. He almost never loses yardage, and is as reliable as they come in short yardage situations. He is also now versatile enough to pick up some of what Dobbins would leave if he is forced to miss time with an injury.
Aside from Edwards, Baltimore also has breakout running back Ty'Son Williams waiting in the wings, as well as Nate McCrary and even Justice Hill. The Ravens have had an extremely deep running back room for years, and although their depth would be tested without Dobbins, Edwards and company is a great backup plan to have, especially considering Edwards is expected to have a major role in Baltimore's offense regardless of if Dobbins is out for an extended period or not.


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Expedition cruises are about much more than simply spending time in remote and wonderful wild places. They are about deepening our understanding of the world we live in. When you travel to Antarctica for the first time, you are awestruck by the enchanting landscapes, tidewater glaciers and rugged mountains. The panoramic views can be a humbling reminder of just how big our planet actually is.
The preservation of the polar regions for future generations to come is a widely discussed topic on a global level. But it's the little things we do at home that can actually make a difference. A special guest onboard Poseidon Expeditions' m/v Sea Spirit, Shirley Metz talks about
Antarctic conservation. She is in the Guinness Book of Records as the first woman to ski overland to the South Pole in 1989. Thirty years later, she shares her own experiences and views on climate change.


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Marching as one
A diverse crowd of than 300 gathered in the wake of the weekend Crossroads Center attacks for a peace rally and march Tuesday evening on the St. Cloud State University Atwood Mall.
The #StCloudUNITE-organized event featured a variety of speakers from international student groups, student government, Interim President Ashish Vaidya, Mayor Dave Kleis, Police Chief Blair Anderson and others.
After the rally, students took some time to shake hands and get to know one another a bit before heading across campus on a march, shouting "The People United Will Never Be Divided."
Small group discussions followed.
One after another, speakers stated their concern for the victims of the attacks and reminded the crowd gathered that the attacks were the actions of one individual and not those of the community at large.


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For a while now, I've fantasized about writing a cook book. To that end, let's be honest: I can barely keep up with a blog and I haven't published a book in nearly a decade, plus I have no training in the culinary arts. This is clearly a bad recipe (see what I did there?) for writing a cook book. Nevertheless, I still think about it sometimes, so today I've decided to start posting blogs containing the recipes that would go into my cookbook.
The book, now blog series, is to be called "Neanderchef" or maybe "Neander-Chef", a rather obvious combination that I think implies what I want it to — not that I'm overly hairy, though admittedly I could use a beard trim, but instead that, as Geicko used to put it, this is so easy a caveman can do it. Side note: I know that neanderthals do not equal cavemen. Please don't respond to tell me that. But more than easy, the "Neander" is an allusion to my methodology. I don't like to measure things, or time them. I prefer to cook using more primitive methodologies.
For today's post, I'm going to use the template I worked up when I was tinkering with writing a cookbook. I hope, faithful reader, that you'll reply and let me know if you think I've missed my calling and ought to transform myself into a cookbook author? In the least, please let me know if I ought to post more blogs like this, and be sure to stay tuned for the Neander-Somm at the end of this post where I pair wine with the meal. And now, without further adieu, I introduce to you: NeanderChef.
NeanderChef: Coq Au Vin
Coq Au Vin is a traditional French dish that, so far as I've surmised, originates in or around Burgundy (Bourgogne). I first encountered this dish at the Bistro Jeanty in Yountville. Sonja and I were in the Napa Valley, and it was near the end of the trip. We had purchased a lot of wine, and I didn't really want to spend a lot of money. I'd never seen this dish on a menu before, but it was $19 and the waiter said it was excellent, so I rolled the dice. It truly was excellent, and I fell in love with it. From that point forward, I ordered it any time I saw it on a menu, which was rarely.
This recipe, if you want to call it that, is a result of much trial and error. I took a lot from the recipe of Julia Childs, but added parts from others and also things of my own. In the end, true to my ways, I never have a recipe in front of me while I'm doing this. I just turn on Billy Joel, Hamilton, or BBC News, and enjoy maneuvering around the kitchen like a wild man, making food for my family with a glass of wine in my hand. I hope you enjoy it as well.
Prep time: One hour
Start to finish: Five hours
Cost per serving: $4.00
Special things you need:
A dutch oven. If you're buying one, know that I can make about four pieces of chicken in an ovular six quart, but probably nine in a round seven quart. If cooking for more than four, get the deep dutch oven.
A Trivae (pictured below). You really need one of these if you ever use lids on anything. Seriously. Get one.
Likelihood you'll fuck this up: Relatively high, at least the first time. Take a practice swing at it before you commit to cooking coq au vin for date night.
- Bone-in chicken. The part with the drummy and thigh.
- Whole, round, bulbous mushrooms
- White onions
- Garlic cloves
- Thick-cut bacon, about half a pound maybe
- Olive oil
- A bottle (.750) of red wine
- A little bit of flour
- A shit load of herbs that you like — bay leaves for sure
- Salt
- Butter
- one small can of tomato paste
Optional Ingredients:
- Truffle oil
- Shallots in place of onions (you snob!)
- Bourgogne in place of random red wine
- Meat tenderizer (I love this stuff and rub it on everything — get the unflavored kind)
Ok, knuckledraggers, here's what to do:
First, assembly your ingredients, making sure you've got all the pots, pans, etc. for each step below. Be certain you have everything. I once started making this, realized I didn't have any bacon, and ended up making pretty boring coq au vin. Wah wah. Double check you've got your stuff, people.
Next, mix up your herbs and some meat tenderizer and salt in a bowl. Please don't ask me which herbs to use. Which herbs do you like the flavor of? Some people hate cilantro as much as I adore it. I used paprika, sage, thyme, rosemary, garlic powder, and a few other things yesterday. Use the herbs you like. Herbs de Provence is always a winner, but buy the kind without lavender in it. Seriously who eats flowers?
Next, massage generous amounts of your herb/salt/mt concoction onto both sides of the chicken, leaving the skin on. Rub it in there like you're on a date and it's going really well.
Next, or at the same time, really, toss your bacon, as thick as you can get it, into a pan with some olive oil, butter, any herbs you want, and your garlic cloves. If you buy whole garlic cloves, which you should, put them into a bowl, place another bowl on top of that bowl so that the garlic clove is trapped inside, and shake the shit out of it. It's a magic trick to remove garlic husks that will make you want to kill someone if you try to remove them any other way. I may have just saved you from a homicide charge. You're welcome. Cook the bacon gently, never really frying it, on medium-low heat for a little bit. Nothing burns here.
Wash. Your. Mushrooms. If you don't, please never invite me over to eat again. Mushrooms are gross until you wash the dirt off. Do this like it's part of your religion.
Add your washed mushrooms to a pan with a little bit of olive oil and let them simmer on medium heat for a bit while you do the other stuff.
Remove the bacon and, when you have a moment, chop it up. I like to cut it into skinny strips that leaves some fat and some meat on each one, but you do you. Actually, no, do it my way. It's better my way.
Add a bit more butter and olive oil, maybe some truffle oil if you've got it, but not much, to your big pan. Then put the chicken in there, still on medium heat. Everything gets baked later. We're just prepping. Let this simmer for a bit and be sure you flip them. No cooking, and don't burn the skin off or get it stuck to your pan. Leave the garlic in there. Add bay leaves and onions. How many onions? I dunno — how much do you like onions? This is the part where snobby people can add shallots instead. They're just little onions as far as I can tell. I used them a few times but, meh. I like onions.
In a big pot, dump (gently — no splashy) your bottle of red wine. You have probably heard people say things like "Don't cook with wine you wouldn't drink". This is stupid. You are dramatically altering the flavor of the wine when you cook with it. If you dump a bottle of Smith-Madrone Cook's Flat into a pot and heat it up, I will personally come to your house and kick your ass. Drink the good wine, and just cook with something passable. I was going to use Burgundy yesterday, but the only bottle I had in the cellar was grand cru. Instead I used a low-cost Portuguese wine that I like enough to sip a little bit of while I made the sauce. Use medium heat on this as well. Add a bit of flour to the sauce, stirring as you go. Add whatever herbs sound good. I also like to add just a little bit, like a small can, of tomato paste. It thickens it up some, but it also adds a subtle tang. Be careful — too much of it and the wrong combination of herbs and your french food will smell and taste a lot like pizza.
Add the bacon to the sauce. You don't have to do this, but I usually do.
Once you've got your ingredients assembled, start transferring ingredients into the dutch oven. This actually requires a little bit of thought, so I'll show you quickly below. It also requires the Trivae I mentioned earlier (pictured above), unless you're really gross and want to set your lid on the countertop, in which case you probably didn't even wash your mushrooms anyway and your coq auv in is going to be terrible. Assuming you're not gross, here is what to do next:
Whether I'm right that this food originates in Bourgogne or not, a Pinot Noir is a nice pairing to go with a dense, rich dish like this. Red wine sauce calls for a red wine pairing, in my opinion. Pairing it with the same wine you cooked with would work, but I tend to enjoy drinking better wine than I cook with, and again, please don't cook with bottles you ought to drink instead. I know that runs counter to the opinions of others, but unless you just can't figure out what to do with all of your money (in which case, send it my way) then there's no need to cook with excellent wine.
Last night, I paired my coq au vin with Tom Meadowcroft's amazing Santa Lucia Highlands Pinot Noir, 2016 vintage. My friend Jerry says this is the best SLH he's had, and I'm sure he's right. It's light and varietally correct, but explosively flavorful with just enough structure coming in between the relatively high acidity and the subtle presence of tannins to make it more interesting than many of the more "delicate" Pinots I've had. Tom Meadowcroft trained in France, and brings an amazing wealth of experience and knowledge to the California wine-making scene, and to many regions and AVA's and single vineyards that I'm coming to love and appreciate because of him. All of his wines are amazing and worth drinking, and this one is no exception.
So there you have it, my first ever installment of NeanderChef. I hope you enjoyed it, and I'd value your feedback. I hope you have a fantastic weekend, ideally full of great food and wine. Oh — and if you end up using my recipe to make coq au vin, please let me know!


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Small Riot Spoils Profitable 2010 New York Auto Present
The New York Worldwide Auto Present has a historical past of being one of the vital thrilling and transcendent public occasions within the space annually. With record-setting crowds and a plethora of modern applied sciences on show, the 2010 present was no completely different.Sadly, final weekend's occasion was marred by a string of violent incidents that occurred not removed from the Javits Middle quickly after the present concluded.In keeping with the Related Press, a whole bunch of younger males reportedly left the auto present and had been caught brawling within the streets in midtown Manhattan late Sunday night.
New York Police Division chief spokesman, Paul Browne, mentioned that the mini riot resulted in 54 arrests, totally on costs of disorderly conduct. Brown additionally famous that 4 individuals had been shot in the course of the melee and several other alleged gang members had been taken into custody. He added that those that had been arrested had been a bunch of "young men looking for trouble."It's nonetheless unclear whether or not the individuals who fired the pictures had been amongst these locked up for the night. None of those that had been injured are thought-about to be in life-threatening situation.The excessive variety of arrests could have been as a consequence of the truth that native police had been on particular alert, as this isn't the primary time that violence has damaged out after the auto present.In 2005, roughly 80 gang members of the Crips and Bloods engaged in a large fistfight contained in the conference middle in the course of the occasion. One 12 months later, almost 200 "rowdy teens" within the space created sufficient hassle that "the NYPD raised the white flag and told Times Square businesses to close for their safety," in accordance with The New York Submit studies.
Sadly for the organizers of this 12 months's occasion, the riot spoiled what commentators known as one of the best present within the six-year historical past of the automobile expo."We had an amazing crowd, a very family-oriented crowd," mentioned auto present spokesman Chris Sams. "The type of person who makes an auto show great, people listening to the presenters."Officers with the auto present additionally famous that the riot broke out almost a mile away from the occasion, and that there was no affirmation whether or not all of those that had been arrested had attended the expo.


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Frequently Asked Questions
Here you will find a list of frequently asked questions
What is the Northeast Oklahoma Studebaker Drivers Club?
We are a small group of Studebaker enthusiasts and hobbyists based out of Tulsa Oklahoma. Our club is the Northeast Oklahoma Chapter of the National Studebaker Drivers Club. We were founded in 1972.
How does one become a member?
You too can become a member of the Northeast Oklahoma Studebaker Drivers Club. For those who wish to become chapter members it will also be necessary to become a member of the National Studebaker Drivers Club due to insurance purposes.
See our Resources page to find a membership form and link to the national club website.
When does the club meet?
Monthly meetings are held the 3rd Sunday of every month except in June, at 2 PM Unless otherwise specified.
See the Events page for more details.
What is a Zone Meet?
Zone Meets are annual events where the club chapters meet to show off their studebakers and have them judged. Zone Meets are held the last weekend of April to Mid-May.. Registration begins on Friday. Saturday the cars are parked in a blocked off area for Judging that begins about 11:00 am. We have a hospitality room for everyone to have a place inside to congregate and have snacks. We also serve lunch to those that have registered. Judging is completed about 2:00. After judging the hospitality room closes and is prepared for the banquet that evening where we have dinner, pass out awards and hold an auction to raise money for the club.
Where can one learn more about Studebakers?
For a quick overview check out our About page.
For a more indepth look into Studebakers check out the Studebaker Wikipedia Page
Also, be sure to check out our Favorite Links for a lot more Studebaker resources.


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1735 Bella Vista Street
Built in 1935 by the E.M. Costello & Son Building Co. for Dr. Arthur R. Theobald and Mrs. Irma G. Theobald, 1735 Bella Vista is the only Colonial Revival on the street. It also sustained the only documented fire on Bella Vista, being struck by an attic fire, just one week prior to its occupancy date.
The blaze sent Fire Lieutenant Howard Brown plunging to the ground, and he suffered fractured bones and internal injuries. It also resulted in $300 in damage to the $10,000 Colonial Revival home ($5,537.63 damage to a home value of $184,587.59, in 2018 dollars).
Dr. Theobald was director of The Avondale Animal Hospital and also a Bond Hill commercial landlord. The Theobalds lived in the home until 1957.
1735 Bella Vista would later be owned by William David Smith, professor of psychology and the very first director of the Department of Africana Studies at the University of Cincinnati.


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Childrens Furniture
Inspiration for your home
Furniture collections
For the ground
Desk space
Eating & breastfeeding
Baby fashion & accessories
Out and about with baby
Baby carriage overview
Car seats by brand
Accessories for car seats
On the road in summer
Traveling with Children
In stock. Delivery time 1-4 working days
carrying nest of Naturkind for the pram as a light alternative to the baby bath.
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T.I. has reportedly earned more than $700,000 for his feature on the song.
The success of "Blurred Lines" spans much further than Billboard charts.
Attorneys involved in the lawsuit concerning the 2013 record and its copyright infringement of Marvin Gaye's "Got To Give It Up" claim the song has earned $16.6 million.
According to Business Insider, Pharrell Williams and Robin Thicke earned more than $5 million each off the song, while T.I. has earned over $700,000.
The remainder of the profits –roughly $5.9 million – has been split between Interscope Records, Universal Music Group and Star Trak Entertainment.
Gaye's children Nona, Frankie and Marvin III allege that "Blurred Lines" and Gaye's "Got to Give It Up" are so similar that the family is owed a large percentage of the track's earnings.
Hearings have been taking place since February in a federal courtroom in downtown Los Angeles.
If the court rules in favor of the Gaye family, they would be entitled to both "mechanical royalties" and to "performance rights" from the song.
For more Robin Thicke coverage, watch the following DX Daily:


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My view of the U.S. economic policy often depends on whether I'm writing about absolute levels of laissez-faire or relative levels of laissez-faire.
If my column is about the former, I generally complain about excessive spending, punitive taxation, senseless red tape, easy-money monetary policy, and trade protectionism.
But if I'm writing about relative levels of economic liberty, I often turn into a jingoistic, pro-American flag-waver.
That because – with a few exceptions such as Singapore, Hong Kong, New Zealand, and Switzerland – the United States enjoys more economic freedom than other nations.
And because of the relationship between policy and prosperity, this means that Americans tend to have much higher living standards than their counterparts in other nations. Even when compared to people in other developed countries.
(Which is why it's so disappointing that many American politicians want to make…
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In Conversation with Alexander Neef, Ravi Jain and Raji Aujla
Our editor-in-chief Raji Aujla sits down with Alexander Neef, executive director for the Canadian Opera Company and artistic director of the Santa Fe Opera Company, and Ravi Jain, the multi-award-winning artistic director from Why Not Theatre, to have an honest conversation about the current state of the arts in Canada.
Art is the way we share with one another what it means to be human.- DIANE RAGSDALE
RAJI Professor Diane Ragsdale said, "Art is the way we share with one another what it means to be human. Which art, where, by whom, serving whom — all matter greatly in these times."
RAVI Historically, we, as a country, have supported sustainability and organizational stability over risk and innovation. That speaks to the kind of art we make and the kind of art that is valued and supported.
ALEXANDER It becomes more of a general thing even in countries where creativity used to be supported more. Sometimes we start these conversations too late — the scope we set for them starts too late because we never look at who has access to the right training and the right education. We need to open up so much more. I'm not only saying that because it takes organizations such as mine out of the line of fire, but it's not an invalid point. It's about the people we hire and work with, but it's also about the people we can hire and can work with.
RAVI That's interesting because in terms of the opera, there's a specific expertise and training required like there is in ballet. I've had conversations with various theatre schools about the history of racism, its influence in the arts, exclusion in the arts and who gets practice. It's an interesting conversation about who is responsible to ensure that training can be broadened.
RAJI Elaborate on that.
RAVI I can speak to it specifically from a Canadian context. The Massey Commission is a good place to start as it still shapes Canada's arts and culture policy 70 years after its report was released. It assumed that Indigenous culture was not really a thing to be invested in; that it was going to be wiped out anyway so wasn't deemed to be viable art. It invested a lot into the classics, the opera, ballet — that inheritance from Europe — and over time that became the reaction in the '60s and '70s to say, instead of doing this European work and American work, let's do Canadian work.
Then there was an investigation into Canadian voices in the '80s: what's a Canadian story and what is Canadian? What about all of the people of colour, black people, and Indigenous folks, we're Canadian too. You see an emergence of these cultural groups, but what doesn't change is the funding to support those groups at the same level as the historic companies. Over time, that separates the world of the arts as high art, low art, community art, and preferential treatment starts to fall more towards higher art forms. That's where the money is so that's where we as a society believe art lives.
ALEXANDER None of this was part of the conversation when I came here [from Germany]. It was completely foreign to my world. Over 12 years, I have had this personal journey of slowly understanding these issues and beginning to discuss how my organization fits into and positions ourselves in this environment. This is an infrastructure that has been built over 70 years. What do we do with that? How do we open it up? How do we provide access? There's a lot of information on bias and unconscious bias, why we hire certain people and not others. I come back to access to talent. We have the artist program that trains about 10 young Canadian singers, and it's open to any Canadian every year. We don't solicit people to apply, but the applications received don't give an accurate representation of Canadian society. How do we reach them?
I wouldn't be here today running the COC (Canadian Opera Company) if there hadn't been free education in Germany. My social background didn't prepare me to run an opera company or even to be able to acquire the level of education that would've allowed me to run anything. The only way I could do that is because my parents didn't have to worry about how to find money to send me to university. When we talk about the most important equalizer, it's free education. A true merit-based society is only possible if it has an important component: a high-quality, free education. And not to devalue your point, but we've moved on from what the Massey Commission considered valuable for this country in terms of art and our general artistic output.
I wouldn't be here today running the COC if there hadn't been free education in Germany. When we talk about a true merit based society and the most important equalizer, it's free education.
RAVI I was speaking with Keith Barrker, artistic director at Native Earth, one of the largest native theatre institutions in Canada, of which there are so few. He'd been on a call with the Canada Council folks to see what's allocated and to whom, and most Indigenous organizations have a budget of $50,000 or less. How can innovation thrive and communities grow if they're not given enough water to grow the seeds? How can we create systems that allow more voices at the table to get more resources to be able to function, thrive and create the next artistic movement?
I went to school in Paris and lived there for 2 years, right next to the Bastille. I would go to see new opera that really pushed the art form forward, and a lot of that was coming from Canadians like Robert Lepage. The exclusion of different perspectives and different communities has limited our country's ability to harness innovation to advance the art form and enrich our culture.
ALEXANDER The problem we then deal with is that even though the general resources dedicated to culture and the arts from the government have increased greatly, they're still largely insufficient to create what you described living next to the Bastille. First of all, Paris has been fostered as a centre for creativity for centuries. There's a critical mass both from the artistic side, and also from the side of the public, to that openness for things that our audiences aren't as open to receive. They are still grappling with achieving a basic level of familiarity with certain art forms, and the arts in general, which doesn't make it easier.
The only advantage is when we do one of the most popular operas, many audience members will see that particular opera for the first time. It could be an unconventional and radical interpretation, but it would be their first Carmen. The upside of an audience that is familiar with the repertoire is a greater sense of ownership in the art. Plus the government, I don't know when you were in Paris, but when I left there 12 years ago, the government subsidy was 65% of the budget, which multiplies your opportunity to take greater risks. The risk aversion big organizations in this country have is because of revenue pressure. The COC is a $40 million-dollar operation and I can only take a calculated risk if I can balance it with the rest of my season. We have a very fragile environment and that leads the whole sector to be conservative.
RAJI There seems to be this cycle of who you're trying to please, how you'd like to innovate, the limitations that you have and then the government not stepping in to support all of this. Is that what you mean by the "fragile environment?"
ALEXANDER There's a strong tendency to do what you already know will work. Sometimes you go to battle for something that you really believe in and sometimes you have to pick which hill you want to die on. There's a completely untapped audience out there for all of us and we have to figure out how to get in touch with them. Fragile environment or not, they require that effort.
RAVI Salt-Water Moon by David French is a classic of the Canadian theatre canon. A lot of drama school-trained actors [of colour] were praised for excellent performances during classes and workshops, but never cast in the production. And so when Nina Lee Aquino from Factory Theatre invited me to direct a play, I chose Salt-Water Moon, cast non-white actors, employed "standard" Canadian accents instead of Newfoundland ones, pushing the play closer to today and audiences further away from the same old, same. The older, regular theatregoers saw a new way to look at a story they were familiar with on the page and stage, while an entirely new and younger audience felt invited, seen and reflected in theatre for the first time.
The door was opened for a risk to be taken and it paid off with rave reviews and revenue as we toured the production across the country. The scale is different to what the COC works with, but the thing that drives our company [Why Not Theatre] is creating that space for new possibilities, exploring new ideas and expanding the audience base. We've grown to have an operating budget of $3 million with no venue, which is unique in the landscape of independent companies in Canada. What role do we play in risk and innovation, and what role does the COC play with the limited amount of risk that you're able to take? Are there ways for us to work together that justify the balance sheet, advance the art form, increase diverse voices at the table and utilize our collective expertise effectively?
What role do we play in risk and innovation, and what role does the COC play with the limited amount of risk that you're able to take? Are there ways for us to work together that justify the balance sheet, advance the art form, increase diverse voices at the table and utilize our collective expertise effectively?
ALEXANDER It's not too late for me to open the door for that. You've given me a lot to think about. It's interesting, what we were supposed to be doing right now [during the coronavirus pandemic] was a revival of Aida. We premiered it in 2010, at the beginning of my time at the COC. The director Tim Albery and I decided early on to strip down Aida's typical pageantry to focus on the tale's emotional heart. We didn't want people going into an imaginary Egypt for some feel-good idea of Aida. We wanted to focus on what the piece was really about: human relations. In opera, people thought it was still okay to paint faces back then too, but we made the decision not to do any of that. This was before anybody was talking about political correctness. A good part of my audience got really angry about the show. They felt cheated out of "their Aida experience" because we didn't give them what they thought Aida should be about. However, there were others who said this was an eye-opener, that opera wasn't stuffy and could actually be relevant and about them. That was my first moment of risk-taking at the COC, and I felt it paid off because nobody who saw that show forgot about it.
Indifference is our biggest enemy. Ideally, people are supposed to love what we do, but I prefer they hate it than be indifferent to it.
RAVI To contemporize something and make it relevant for an audience today in that context is challenging.
ALEXANDER It is, but I've come to simplify my thinking about it. Things become classics for various reasons. The whole trajectory is saying to people,
yes, we do Mozart, Verdi, Beethoven, Wagner… but we do them as 21st century people for a 21st century audience. We're not some time travelling company that does Shakespeare by transporting you back to Elizabethan England. We do these works because we still find in them something that moves us, not only as audiences but also as artists.
RAJI Who do you think you're responsible to? Are you looking at what you think the audience needs or what your board directors would prefer to see?
RAVI We're always building work for the multi-ethnic audience of today and tomorrow. Our responsibility is to not only produce groundbreaking and relevant work for them, but also ensuring they're not priced out when it comes to tickets being accessible and affordable too.
ALEXANDER My responsibility is to ensure the place doesn't go bust. I don't feel that the board at the COC controls the programming. Of course, some of them are very opinionated and there can be creative conflict between us at times, but there are certain things that I would not consider up for compromise. Every artistic leader has to tread that line because this is about art, culture and business, not personal satisfaction. The board made a decision to hire me to be a steward of this company and I take that very seriously.
RAJI How can we innovate in the arts when we're programming so much in advance? We have to have a certain level of foresight but in the case of a global pandemic we could not have prepared for, how do we produce something quickly to respond to a need right now?
ALEXANDER There's a great play from 2500 years ago called Oedipus Rex, where the city of Thebes is struck by a plague, the citizens are dying and no one knows how to put an end to it…
RAJI But you couldn't produce something like that at short notice.
ALEXANDER You could. If it was possible to rehearse right now, we could have Oedipus Rex ready for performance in four-to-six weeks. When it comes to reacting to day-to-day politics or current events, it's different for art forms such as cabaret or stand-up comedy, but for theatre, it can miss the point. We want to do things that resonate with different people and different situations in different ways over time.
RAJI How do we make sure our artistic productions respond to the needs of a generation that consumes art differently? There are case studies in the private sector, Mejuri and Glossier, who built a digital culture and strategy first, as that's where consumers are. From there, they opened a bricks and mortar. Here, we have arts with bricks and mortar, but no engagement. Arts have a hard time innovating because they're not viewing themselves as tech-focused companies, optimizing the power of analytics to learn about consumer behaviour.
Recently, the New York-based This Is Not A Theatre Company staged an immersive play. They brought an experience to your own home that was experimental, multi-sensory and participatory theatre. The product infrastructure was every day technology — a smartphone and social media — curated into an experience. There was no production necessary, just organization. How can our arts organizations utilize technology more efficiently and effectively?
RAVI A major part of the process that we need to figure out is what the translation of our analogue art form to a digital platform looks like. While there are those individuals and institutions that are already way ahead, not everyone is equipped to make that transition at the present time. The audience in this digital world is actually everyone. Platforms exist where we can broadcast live and direct to 20,000+ people instantly. That's a fucking arena. I've never had that capability before. You could whip up a sketch that responds to things immediately, but speaking for performance art and specifically theatre, it requires meaningful time, thought and process so that it will be impactful.
ALEXANDER By nature, what we do is analogue. Either we are not proud enough of that, or there's insecurity because we are led to believe everything needs to be interactive. Digital engagement is a means to an end to get people back into the theatre. Everybody is doing something right now to stay connected with their audience because we can't give them the real thing, which is that gathering of people in a space inviting them to go through an experience together. That is irreplaceable by anything digital and we need to hold onto that. We are one of the few spaces where that is still desired and required in a world that's moving fast, product is pre-packaged and people don't want to think too much. The difference between a digital experience that you watch on your device and being in the theatre is that we invite people to be their own camera in the theatre.
RAVI A younger audience may be integrated with technology in a way that our generation might not be, but that doesn't mean they don't engage with the arts. Again, we communicate and interact with groups of people that have been excluded over time. We have to find the right language and relevant work that illuminates for them what is unique about this way of engaging your time.
RAJI Digital does not need to be the answer. I agree with both of you about time being an important factor in the creative process. And being in a physical space is my preferred way of consuming art. Alexander spoke of a fragile environment. What can be done to help strengthen it?
RAVI The fragility in our environment is the working structure, in particular for the freelance artist. In this environment of entrepreneurship, there are many self-employed artists that need help with building a sustainable career in the arts. Generator T.O. is one great resource for them. They're an organization that mentor, teach and expand the skills, tools and competencies of independent artists and producers.
As an arts community, our duty is to serve artists and serve audiences.
As we can't serve audiences in a physical space right now, we should be focusing our time being of service to artists, especially those facing pervasive, systemic barriers in the arts rooted in racial and gender bias and stereotypes. Our crew are currently helping young women of colour get access to mentors, people and institutions all around the world. That's one effective use of the Zoom video-conferencing app as we all navigate the pandemic. We have to develop our collective skills and strengths because no matter what happens when we come back; those barriers will still continue to be there. So if we can't serve audiences right now, maybe we can fix our sector — address the challenges and systemic barriers in our sector and get to work on them so that when we come out of this, we emerge stronger.
ALEXANDER From our perspective, I'm looking at the number of people I feel responsible for in terms of maintaining their livelihoods. It goes in different circles from the core staff, administrative staff, and members of the orchestra and stage crew, along with others associated with temporary contracts. That's an ecosystem of hundreds of people we work with throughout the year that depend on us having activity. My job is to not only produce art but also to find enough money to pay everybody. People rarely think of leaders of large organizations that way. If 20% of my day is artistic, it's a good day. I wish we had stronger organizations in different sizes so that we could sustain the general environment because you'd pass that institutional strength on to others.
RAVI Where do the arts make a societal impact in terms of your reference to social justice?
ALEXANDER We spoke about access to free education and how that is the only effective equalizer in many ways. Artistic practice and arts education ties into that. It's great to have free access to learning math, languages, physics and biology but learning artistic practice allows people to think independently. The most important thing about interacting with the arts is that it builds transferable skills, individualism and creativity.
Look at Albert Einstein; he was a passionate musician who played the violin throughout his life. It's important not to negate that. Scientific practice and artistic practice are closely linked and the brilliance of a scientist comes very often from creativity that was trained in artistic domains. Our society has trouble understanding that and regulates the arts to this corner of leisure and entertainment when the essence of it is building up those transferable skills, creativity and individualism. We need that now more than ever.
RAJI What do you think are the long-term effects of arts education and how it carries itself out in society?
ALEXANDER We talk a lot about future leaders, but we're not really training them in the art of leadership. We don't allow people to have free access to artistic practice. What develops and builds leaders is the ability to be a creative individual, not following the mold.
RAVI One of the most important things artists do well is listen. We listen to what's going on in society and then put out a vision of the world that we aspire to achieve. Whether it's a hardcore political piece or a light comedy, that message is still there. The arts is about activating people to think differently, to dream possible worlds, to dream alternative visions of existence, and to see the world reflected in a way that provokes them to want to make change and build a better world.
ALEXANDER It's important that we also listen to each other. The ability to agree and disagree is a discourse that needs to be at the same level. Disaster doesn't have to strike if we don't share the same opinion. We can talk about it. That is the opposite of the polarization we're seeing at the moment where some people think if they don't agree on everything, then there is nothing to talk about. This idea that my truth is the only truth is crazy. In a way, what the arts teach us is that there is no truth.
RAVI Or that there's many truths.
RAJI Maybe that's the one truth, that there are many truths.
ALEXANDER If we can accept the fact there are many truths, there has to be a framework for that that makes for a more equal society.
RAJI How can this awareness, building education and empathy within the arts, lend itself to bridging some of the barriers that the sector is faced with?
ALEXANDER A part of the issue when you're fragile is that you're less likely to share. A silo mentality can form whereby you only concern yourself with your turf, your audience, your donors and your art form. This mentality reduces our capacity to make major progress. Sharing in a fragile environment might seem a difficult thing to do, but we have to learn to do it. The moment we speak as a sector instead of as individual organizations is when we gain more strength, not only with government but also in our communities, with our donors and with our audiences.
RAVI In the smaller communities and organizations, sharing is a big part of how we survived. I've heard the higher up you go, the more siloed things become. We created collaborative producing models that brought together small pools of money to make big pools of money so that everyone benefits. In terms of coming together, one thing we may lack is what the shared analysis of the problem is. We may not have similar thoughts as to why things are the way they are and why inequities exist [within the sector]. If we can all come together and recognize where we're the same — which is that we all have the same problem right now in that nobody can access an audience — there are many differences where we need to understand how we're not the same. And that's not in a negative way. For example, the three of us are very different people because of race, gender and sexual orientation. There are many things that make our experiences in life different, yet here we are with a shared passion for the arts. Those differences are significant and important to create a healthier ecosystem, society and art sector. But you just can't have a conversation without addressing those inequities because they continue to play out even in the recovering of this pandemic. Certain organizations can be on the phone with ministers and heads of major companies and others can't. How do we figure out a way to recognize those privileges and create a more levelled playing field? Of course there are those that don't care about those things, and that's fine. We don't all have to have the same fight.
ALEXANDER In many ways, we don't. But in the end, we're working towards a common goal. That might sound idealistic because if push comes to shove, you're going to take care of your organization first. But what I've learned over my time is that when you open up and share resources, it benefits the whole [sector]. We've played a small role in creating a more active opera sector in Toronto by sharing basic resources from allowing staff to answer questions from independent companies about government advocacy to writing your first grant. For a couple of years, we had a company-in-residence with Against the Grain Theatre (AtG). We gave them an office, computers, paid their phone bill and gave them access to the resources of a bigger company. We were separated by one floor in our building, so if AtG needed anything, they just had to come down. Even though what we did in terms of monetary compensation was rather insignificant, it allowed them to develop and grow. People questioned me about my decision to help build our own competitor. I'm of the opinion that the more people that like the opera in Toronto, the more people will end up at the COC.
RAVI It's amazing what kind of impact a small contribution can have. We went from zero to $175,000 from the Canada Council and that changed our lives. It allowed us to grow into an institution.
ALEXANDER It creates a much bigger outreach platform for the art. And I should be totally committed to that. There are only so many people, even with the best efforts, that I will ever be able to reach. If we can help other companies to reach more people, we build a critical mass for opera and the arts.
RAVI You've come from Europe and been at the COC for 12 years now. Your next move is as general director of Opéra national de Paris in 2021. Is there more organizational renewal in Europe?
ALEXANDER Change in leadership for most organizations occurs every ten years. People think that is a good time to get a project done and then someone else comes in on the bedrock of solid organization. Institutions think of themselves as things that need renewal. However, it's taken me twenty years to build the relationships that I needed to make things happen. That's why boards don't really want change because our organizations are so uniquely identified with their leaders and there's no separation from that. We all have this urge to keep what's working — rather than thinking long term about the future — which stalls the renewal of the sector. In Europe, changing leadership is a natural and necessary evolution rather than an unwelcome event.
RAJI Why are people so afraid of change in Canada?
ALEXANDER It's seen as something that makes a company more fragile. In my case, there may have been a preference for me to stay and continue the project. However, if the transition is managed the right way, it's a great opportunity for the COC.
RAJI The risk aversion is high in Canadian arts. It can be counter-productive to have a board consisting mainly of businessmen whose forte is solely the bottom line as you need to manage risk and innovation for the creative industries to grow. How are they governing for cultural growth and the legacies of our arts organizations?
ALEXANDER We keep repeating to ourselves that we have to be businesses, and in some ways, that's not wrong. I think accountability, caring for resources and not wasting them is important everywhere but I'm not sure if that makes us a business.
RAJI Business literacy is important, but diversification on the board is equally important. Having inclusive representation made up of diverse perspectives and expertise, such as artistic directors and multidisciplinary creatives, would be a competitive advantage. You spoke of education in recognizing that art is a daily part of life. How do you advocate more for the arts to the public?
ALEXANDER The one thing that the arts do is build identity. It's the only thing that lasts. I go back to Greek tragedies from two thousand years ago. It boggles your mind how they still resonate. These are what built Athens and Greek identity all those years ago. They created this art that was shared with the community. Nobody remembers who was running Athens in those days, but those poets are more famous than any leader today. I think that should teach us a lesson.
RAJI For nation states, it's easier to build a shared consciousness on what identity in arts is. It's harder in Canada, where it's multicultural.
ALEXANDER But it should not be impossible. In countries like Canada, we've never really tried.
RAJI Multiculturalism has become our identity, but only at the surface level. If you dig deeper, you realize the truth of how much our cultural identity, as reported in the media, is the identity of colonial Canada. The banner of multiculturalism hides the real truths about Indigenous cultural genocide, disproportionate crime against people of colour, inaccessibility to clean waters… you start seeing that multiculturalism isn't a shared definition. How then do we build a collective identity that is agreed upon?
ALEXANDER It's going to take political will and a genuine desire for unification. Unfortunately, it's easier to play people against each other than play for each other. And in our dynamic, we mostly care about how we secure re-election.
RAVI If you had a variety of artistic organizations above $10 million dollars, you would see a change in the field of representation. Imagine there was a smaller opera company that was dedicated to Iranian dance or Chinese opera, had a building downtown and worked in partnership with the COC. You would see a different voice represented. We have a desire to embrace multiculturalism with words, however, the actions fail to amplify the range of voices and therefore it's hard to hear them. It's like giving someone a tiny speaker and microphone at a big concert while the next person has a huge surround sound system. Who do you think is getting heard?
ALEXANDER I would love to see that kind of space, but simply do not have a dollar to invest in it because of risk aversion. You have to have capital and a specific mandate to do certain things. We have institutional strength. Rather than try to build from scratch, which will take another 50 years, how do we connect that with the art form that you already have the expertise and experience to do, not have white people do South Asian opera but to create that space within your organization; put those in charge who know what they're talking about, allow them to emancipate themselves and take up more room. People would then look at us as not only producers of western opera, but as a home of all kinds of musical traditions.
RAJI Yes. The one thing I would push back on is I've been in that precarious situation where it felt like I was employed because I checked off so many boxes: command of communication, check; South Asian, check; woman, check; millennial, check. And then to be given a broad mission such as "attract, expand and enhance diverse audiences" was a tall order for the one person of colour to fulfill. It's a lot of pressure to accomplish so much with a singular mandate that, if not fully achieved — because it's a lot for one team, let alone one person — sets a bad example to risk employing young women of colour to solve centuries of colonial misconduct. Without a system or structure in place to support and implement diversity strategies, it's performative and will not succeed.
ALEXANDER I completely agree.
RAJI The requirement from an institution is the need to help foster, nurture and incubate that mandate; it's a dual responsibility. That third party you bring on board — such as an artistic director, consultant or publication — works in harmony more effectively when everyone is aware of all the barriers and joins forces to confront them.
ALEXANDER I think Ravi and I should have columns in this magazine because we've only really scratched the surface.
Ravi Jain
 whynot.theatre
Alexander Neef
 learn.coc.ca


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Shellfishes identification and selection
Effective and efficient selection of shellfishes containing sand or completely empty, using an optoelectronic selection system and a method applicable to discontinuous or in-line sorting machines. This system is based on the visible light optical transmission trough the entire shell. The different attenuation of the light passage across the shell allows the identification of the shellfish state and its following selection.
Technical features
The present patent mainly refers to clams (genus Ruditapes), but it is extensible to other shellfish bivalves presenting the same problems. The freshly picked live product always has a certain quantity of sand inside which is then expelled from the animal during the housing. Before packing, the clams are manually selected to eliminate dead, broken or qualitatively non-compliant product. However, a variable percentage of product remains unselected, since empty or with a high internal content of sand sealing the two valves. The optoelectronic apparatus consists of: lighting system, housing and support system of the single shellfish, acquisition system of the light signal passing through the shellfish, electronic system for light control and processing system of acquired signal.
Possible Applications
- Agri-food;
- Agricultural products conservation;
- Processing industry;
- Manufacturers of agri-food machines.
- Instrumentation that allows the automatic selection of shellfish based on the sand content;
- Considerable reduction of the unselected or non-compliant product;
- Non-destructive product system;
- Can be integrated with other agro-food electromechanical components.


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In the Loop is your round-up of what's going on in the transportation world, posted in conjunction with Talking Transit.
@metroplanners news
In August, Mayor Rahm Emanuel named Metropolitan Planning Council (MPC) President MarySue Barrett co-chair of the City of Chicago's Museum Campus Transportation Study task force, along with City Chief Operating Officer Joe Deal. The task force's mission is to improve connections to and between the campus' museums and other facilities, making it easier for residents and visitors to experience this exciting area of the city. As a result of Barrett's nomination, MPC will be supervising work by staff at the Chicago Dept. of Transportation. In addition, MPC will host an open house at our offices on Tuesday, Oct. 14, from 4 to 6 p.m., for the general public to learn about the study and contribute their ideas.
In collaboration with Alderman Rey Colón, MPC is conducting a three-part Corridor Development Initiative process in Logan Square. As part of the Initiative, residents of the community and other interested stakeholders are planning proactively for the future of the Logan Square Blue Line station plaza and adjacent surface parking lot on Emmett Street. The first two meetings each attracted more than 160 attendees; the third meeting will occur on Tuesday, Sept. 30, from 6 to 8 p.m. at the Hairpin Arts Center.
In recent weeks, MPC has also hammered home the importance of long-term regional planning principles. In addition, MPC is tracking work being conducted to develop a public-private partnership for the development of the City of Chicago's Riverwalk project.
This week, the Organization for Economic Co-operation and Development (OECD) released a much-anticipated report on the quality of transit in the Chicago region. The report drew heavily on MPC's research and analysis of the challenges facing Northeastern Illinois' public transportation system, and noted that the region needs better cooperation between regional transportation entities and more funding in order to achieve world-class status.
Chicago was lucky to receive a bit more funding this month, however, for the creation of a new pedestrian bridge at 41st Street. Through separate funds, the City of Chicago is also building new bridges at 35th and 43rd Streets; all will improve connections between Bronzeville and the Lakefront. The 41st Street bridge is funded by the U.S. Dept. of Transportation's TIGER competitive grant program, which also provided funds this year for bus rapid transit in Omaha, Neb. and Richmond, Va. and streetcars in Detroit and Providence, R.I. In previous years, the City of Chicago has received TIGER grants for the Riverwalk, the 95th Street Red Line Station and the CREATE project.
Transit systems in other cities are moving forward with innovative new ways to make their networks more appealing for passengers. In Honolulu, construction is well underway on what will be the nation's first driverless rail transit line that does not connect to an airport. The line, which will cost $5.2 billion, will open in stages beginning in 2017.
In Indianapolis, a bus rapid transit line is being promoted by the local government, with the intention of providing speedy, efficient commutes for people through that region. And in San Antonio, the focus is being put on public art. New bus shelters feature fanciful colors and shapes designed to appeal to users and also people just walking along the sidewalks.
bridge, Museum Campus, transit
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For more than 85 years, the Metropolitan Planning Council (MPC) has partnered with communities, businesses, and governments to unleash the greatness of the Chicago region. We believe that every neighborhood has promise, every community should be heard, and every person can thrive. To tackle the toughest urban planning and development challenges, we create collaborations that change perceptions, conversations—and the status quo. Read more about our work »
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Okay, it's too long, but boy did this video make me laugh this morning. No idea who creator LMcDuff is (says the pen name is after a yellow labrador named Lady McDuff), but this person nails what's happening in the ad world these days.
Just another mainstream media online exec trying to figure it all out.


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Effective Health IT Reduces Burnout, Improves Patient Care
Information technology and its intersection with military health care was at the forefront of a key discussion at the annual Healthcare Information and Management Systems Society conference, held in Chicago, Illinois, from April 17 to 21.
This is a test of the sitewide banner capability. In the case of an emergency, site visitors would be able to visit the news page for addition information.
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Navy Chief Petty Officer John "Blake" Conley spent weeks preparing to make the Navy Wounded Warrior Team
With the help and support of Navy Wounded Warrior and Warrior Care's Military Adaptive Sports Program (MASP), he will be competing in the upcoming 2022 Warrior Games.
Blake's wounded warrior journey began in July 2019, when he experienced strong migraines and bad reactions with his medication within one month. After receiving an MRI, he was told there was a mass in his brain. Blake shared, "I was only 35 years old, so I wasn't expecting to have cancer."
Sharing the overwhelming news with his family, they decided to make a cross country move. Blake explained, "I did my neurosurgery in Pearl Harbor, they removed a four square inch mass out of my left frontal lobe. Then we moved to Walter Reed, that's where my wife's family is located, and it was easier to get help with our children during this time. Having a support system from my family has been awesome."
A year after finishing his chemotherapy, Blake has now taken control of his recovery and is participating more in adaptive sports and reconditioning activities with his family support.
"I've been trying to incorporate these kinds of activities with the kids, and we're able to have fun and get out a little bit more," Blake shared. Creating goals has allowed Blake to remain focused and motivated to try out for the Navy's Wounded Warrior Team and compete at the 2022 Warrior Games.
Navy Wounded Warrior offers programs and services across the country. In May 2020, Blake started participating in the MASP program at Walter Reed National Military Medical Center in Bethesda, Maryland, where adaptive sports and reconditioning activities are an integral part of the recovery program.
"I went through chemo during the COVID shutdown," continued Blake. "It's a very untypical Navy life for me, I'm used to having friends at my command, but I didn't have that. My last day of chemo was in February 2021."
"Currently, I am stationed at Navy Warrior Transition Company at Walter Reed," Blake stated. "I'm also temporary additional duty for Navy Wounded Warrior and fulfill the role of a non-medical care manager." "It's an important part of reintegration and very rewarding being able to help people enroll and get the support they need to be successful," Blake shared.
As an active participant in military adaptive sports programs, "this was something that helped me get out the house, be active, and meet people," he said. "It's cathartic to talk to other service members who are going through troubling conditions and pass on positivity."
For Blake, it's a privilege to be on the Navy team at the Warrior Games.
"To represent all the other wounded warriors and what they've gone through in their struggle, meet new people from different branches, it'll be really cool."
Moving beyond his cancer has been very rewarding, he said.
"My family and I can get out a little bit more," he said.
"I hope from my experience that my kids realize that if you stay positive you can get through anything. Also, what kids are going to turn down Disney?"
The 2022 Warrior Games will take place at the ESPN Wide World of Sports Complex at Walt Disney World Resort in Florida from August 19-28.
To participate in Warrior Care's Military Adaptive Sports Program, visit the MASP webpage. To learn more about Navy Wounded Warrior visit their homepage.
The Department of Defense (DoD) provides resources and information exclusively for military caregivers who assist wounded, ill and injured Service members with activities of daily living.
Explains the TRICARE Cognitive Rehabilitation Therapy benefit
Explains Medicare requirements for injured service members on disability
Fact sheet that describes coverage for assisted reproductive services for injured serivce members.
Fact sheet that discusses benefits for wounded, ill or injured service members.
CAP Supports Wounded Service Member Initiative provides needs assessments, assistive technology, and training to our nation's wounded service members throughout all phases of recovery and the transition to employment.
Health.mil News
The appearance of hyperlinks does not constitute endorsement by the Department of Defense of non-U.S. Government sites or the information, products, or services contained therein. Although the Defense Health Agency may or may not use these sites as additional distribution channels for Department of Defense information, it does not exercise editorial control over all of the information that you may find at these locations. Such links are provided consistent with the stated purpose of this website.


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By Mikaela Medina
At around 11:30, we arrived at the first island of our cruise, Hydra. It was absolutely beautiful. The buildings were a beautiful white color with terra-cotta rooftops. The weather was perfect for walking around the island. There are only about three thousand people living in Hydra and there are absolutely no cars, making the island that much more peaceful.
Upon getting off the boat, mules were waiting at the dock to take you up to the top of the island. We walked around and visited many little shops around the town. We also had a lot of time to admire the beauty of the island and just walk around. We ended our visit by eating baklava by the water.


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The father of a first-grader killed during 2012's Sandy Hook school shooting committed suicide.
Jeremy Richman 49, was found dead inside his office space Monday morning (March 25). Local authorities said the medical examiner's office has not confirmed a cause of death.
Richman, a trained scientist, and his wife Jennifer Hensel launched the Avielle Foundation after his 6-year-old daughter Avielle Richman. The foundation is committed to providing funding for the neuroscience behind compassion and violence.
In a 2017 interview with NPR, Richman discussed the heartache he and his wife experienced in the years following Avielle's murder. "It was like a ghost limb syndrome, you know, where you keep thinking 'Where's Avielle? Do we need to pick her up?'" he said. "And every day you'd have this [realization] that I don't have a child, and I don't have to parent. That was just brutal."
Richman also said with each new shooting, it just resurrected raw emotions.
"Right after Newtown we had the Boston bombings, and then we've had Charleston, Orlando and over a hundred school shootings, some of which make the national news and some don't," he said. "Every time this happens it breaks a heart and it chokes us up. To be honest, though, now it comes with a fair degree of frustration and anger because things aren't changing fast enough. I really get sick of 'thoughts and prayers,' and 'our hearts go out.' That's not going to change anything. What I need to hear is: 'My heart is broken, and my boots are on the ground to fix it.' "


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As Norfolk emerges from Christmas day into Tier 4 the Norfolk Explorers continue to find trips out that remain within the guidelines and this week we found ourselves in the beach town of Cromer, famous for its mighty peer projecting into the North Sea and its long coastal walks we took the opportunity to exploreContinue reading "Cromer – Norfolk – Loaded Fries and Beach Walks"
Tag Archives: beach
Happisburgh – North Norfolk
Famous for its iconic red and white striped light house, the village of Happisburgh on the north Norfolk coast is a great place to visit year round ! Approximately 40 minutes from Norwich its perfect for those early Sunday morning walks, leaving the perfect amount of time for a traditional roast in the afternoon. WhereContinue reading "Happisburgh – North Norfolk"
Port Isaac- Cornwall
If Port Isaacs isn't on your places to visit list for Cornwall you might want to start your list again. Famous for a multitude of reasons, however for many its the home of Dr Martin. As part of our family holiday to Cornwall, Port Isaac lies on the northern coastline of Cornwall and is aContinue reading "Port Isaac- Cornwall"
Wells-next-the-sea – Norfolk
October half term 2020 is unlike many, in the sense the novelty of 'lock-down' and the reality that its going to be a long winter loom over as winter nights close in fast, however that doesn't mean it has to be a dull one. Located just 50 minutes north-west of Norwich this seaside walk consistingContinue reading "Wells-next-the-sea – Norfolk"


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Sometimes, being the videophile's favourite isn't enough.
Hailed for its superior picture quality but burdened by high electricity consumption, plasma television took a critical blow last week when Samsung confirmed it will end production of the displays in November, citing a plunge in consumer demand.
The SDI unit of Samsung Electronics in a statement said it will instead focus on curved and ultra HD flat screen models as it develops the next generation of high-end televisions.
In the market for a 4K television? Better to wait it out
Panasonic stays in TV business, chairman steps down
Power requirements, weight and bulk have all contributed to plasma's dwindling sales as newer technologies such as LCD and OLED offered lower prices and improving picture quality.
Samsung's action follows similar moves by Panasonic, Sony, Hitachi and Pioneer and it will leave LG Electronics as the world's only remaining producer of plasma displays.
Along with rear projection large-screen technology, plasma screens replaced the bulky cathode-ray vacuum tube sets that are a part of TV history.
"In the short term, it will leave a void in the marketplace," Rasmus Larsen, founder of the FlatpanelsHD website said after leading plasma maker Panasonic last year said it pulled the plug on the technology.
Panasonic helped set the plasma demise in motion when it said the product was no longer viable from a business perspective.
"But I feel confident that OLED [organic light-emitting diode] technology will offer even more impressive picture quality in the years to come," Larsen added.
Industry experts have long praised the wide viewing angles, deep blacks and accurate colours of plasma TVs but the units have been priced higher than comparable sized liquid crystal displays that deploy more energy efficient light emitting diode technology.
A plasma television uses ionized gas filled fluorescent chambers comprising thousands of pixels or picture elements to present eye-catching visuals over typically a 30 inch-plus screen. But it requires a thicker screen than an LED model and takes more power to operate.
LG says it will supply plasma TVs "as long as there is demand" and notes that the product line accounts for only a tiny portion of its TV revenues.
"Picture quality of plasma has always been a major driving factor for sales," LG Canada spokesperson Court Elliott wrote in an email
"That said, newer technologies like OLED are the future of televisions and demand for this technology continues to grow."
In a June report El Segundo, Calif. Based market research firm IHS said while the global market for liquid-crystal display televisions was robust in the first quarter, shipments of plasma display panel TVs dropped 16 per cent year over year.
It said PDP TVs "are on their way out of the industry permanently."
Consumer devices principal analyst Jusy Hong said LCD TV shipments climbed 4 per cent from January to March and total flat-panel TV shipments in the first quarter were up 3.3 per cent to 49.36 million units.
With aggregate shipments of 17 million units between them, Samsung and LG continued to be the top brands and makers of flat-panel TVs. Overall, the South Koreans maintained year-on-year shipment growth higher than 10 per cent for each of the three months in the first quarter—a distinction unmatched by any other group, including American- and European-based manufacturers.
Hong said the growth can be attributed to an increased push in LCD TV shipments while manufacturers pull out of the plasma business.
He said Samsung, for instance, is scaling back sharply on PDP TV shipments, and is preparing to relaunch high-definition LCD TV models in the new size range of 40 and 48 inches to replace 43- and 51-inch plasmas. Almost 100 per cent of 40-inch-and-larger LCD TVs are full high-definition models.