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Norman P. Green, who is the Chautauqua County Democratic Election Commissioner as well as the Chautauqua County Democratic Committee Chair, responded following County Clerk's comments regarding the League of Women Voters' debate.
"I was very saddened to see our great retiring County Clerk Sandy Sopak, engaging in political sniping this week at Lori Cornell, our Democratic candidate for County Clerk, and the League of Women Voters. I personally would have preferred that Sandy be remembered as the hard-working public servant who stayed above the political fray.
"Sandy Sopak even dragged me into the fight with her press release stating, 'In fact, Democratic Election Commissioner and party chairman Norm Green has come to our office on many occasions and, by his own admission, was treated with respect and provided with prompt, efficient service.'
"Sandy's remarks about me were apparently meant as some sort of wrestling move to flip the tables on Lori Cornell's supposed bad manners of having not come by for a Sandy Sopak tour. I must tell you, I personally always advise candidates to be respectful of an elected official's office. I advise that it's bad taste and arrogant to be inserting themselves in the office before the election. However, once officially elected, it is very appropriate to work on a transition and to get an insider's view of how the office works," he concluded.


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Top-ranked IWU too much for Foresters
The NAIA Division II top-ranked Indiana Wesleyan Wildcats proved to be too much for the Foresters (10-6, 2-4) to handle as they routed HU 80-54 to stay undefeated on the season at 20-0.
Both teams got off to a slow start offensively as the Foresters led 4-2 five minutes into the game. The Wildcats took their first lead of the game on a trey from Liz Howerth a minute later and then slowly began to pull away from HU. A Stephanie Culp layup off a Howerth steal capped a 10-2 run to give IWU an 11-point edge at 17-6 with 10:29 to go in the half. Another 8-1 spurt later in the half gave the Wildcats a 16-point advantage and they finished the period up 30-17.
Early in the second half, HU looked as if they were ready to battle IWU. The Foresters scored the first seven points of the half to immediately cut the Wildcats lead to six at 30-24, but the rally was short-lived. IWU regained the momentum with an 11-2 run to take a 41-26 lead at the 16:08 mark and they never looked back. The Wildcats owned its largest advantage at 74-46 before reaching the final 26-point margin of defeat.
The Foresters had no answer for Indiana Wesleyan's Sarah McGill who took game-high honors with 34 points. Howerth added 22 points and a game-high seven rebounds. Amy Berry led HU with 15 and Lauren Davenport finished with 12.
Both teams shot the ball well with the Foresters hitting 23 of 46 for 50% while the Wildcats went 28-55 for 51% including 8-16 from behind the arc. IWU also was a perfect 16-16 from the line.
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This Kitchen Island and Two Bar Stools has style and flair that creates a marvelous center-piece for any kitchen. The Grand Torino Kitchen Island from Home Styles is constructed from hardwood solids, hardwood veneers, and engineered wood in a blended rustic cherry and black finish.
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4-star hotel in Belfast (Queens College District) near Queen's University of Belfast
Located in the heart of Belfast, this hotel is within walking distance of Queen's University of Belfast and Ulster Museum. Also nearby are Belfast Botanic Gardens and Ulster Hall.
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In addition to a restaurant, Wellington Park Hotel features a bar/lounge. Other amenities include a coffee shop/café and complimentary wireless Internet access.
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Guestrooms have complimentary wireless Internet access, climate control, and coffee/tea makers; rooms also include desks and direct-dial phones.
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The hotel offers a restaurant and a coffee shop/café. A bar/lounge is on site where guests can unwind with a drink. This 4-star property offers access to a business center, audiovisual equipment, and small meeting rooms.
High-speed wireless Internet access is complimentary. Event facilities measuring 1668 square feet (155 square meters) include conference/meeting rooms, a ballroom, and banquet facilities. This business-friendly hotel also offers a rooftop terrace, concierge services, and dry cleaning/laundry services. Limited onsite parking is available on a first-come, first-served basis (surcharge).
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Full breakfasts are available for a surcharge and are served each morning.
The Wellie Bar and Grill - This restaurant serves lunch and dinner.
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Preview: Traditional Music of Eastern Siberia
Mar 23, 2004 — Some of the best Mongolian and Buryat musicians and singers of northern Asia are in the Adirondacks this week. Their visit is part of a series of international exchanges sponsored by the Totem Peoples Project and the Association for the Protection of the Adirondacks. Tonight at 7:00, at the Lake Placid Center for the Arts, the group Uragsha presents traditional song, fiddle and throat singing. Todd Moe talks with Dan Plumley, Director of the Totem Peoples Preservation Project, about the project's mission and tonight's concert.


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08/28/2013 Football Set For Season-Opener At No. 23 WisconsinWatch the Minutemen take on the Badgers live on the Big Ten Network. 04/20/2013 Alums, Marathon Tribute Part Of Football Spring GameFans treated to several special events surrounding annual Spring Game. 11/21/2012 Senior Day As Football Hosts Central Michigan On Black FridayMinutemen to honor first-ever FBS Senior Class prior to kick-off at Gillette Stadium. 11/14/2012 Minutemen Entertain Buffalo For Band Day At GilletteUMass looks to keep building momentum following win at Akron 11/06/2012 Football Heads To Akron In Final Road Trip Of 2012 SeasonMinutemen and Zips each looking for first MAC win. 04/14/2013 Day 8 - Minutemen Host Youth Clinic At GilletteCheck out the sights and sounds as the Minutemen held their eighth practice of the Spring at Gillette Stadium's Dana-Farber Field House. Prior to the practice, UMass held a Youth Clinic with over 130 kids in attendance. 04/20/2013 FB SPRING GAMEFB SPRING GAME Photos by Thom Kendall '93 03/13/2013 FB-NIGHT OF CHAMPIONSFB-NIGHT OF CHAMPIONS Photos by Thom Kendall '93 11/17/2012 FB vs. BUFFALOFB vs. BUFFALO Photos by Thom Kendall '93 09/29/2012 FB vs. OHIOFB vs. OHIO Photos by Thom Kendall '93 09/20/2012 FB vs. MICHIGANFB vs. MICHIGAN Photos by Thom Kendall '93 As a junior in 2013: Injured during summer camp and earned a medical redshirt for the season. As a sophomore in 2012: Game-By-Game Statistics As a Freshman in 2011: Game-By-Game Statistics Before UMass: Two-time letterwinner for coach Tommy Reamon of Landstown High School ... Named MVP junior and senior year.
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ShopTheJobs.com closed its doors for the last time on December 31, 2011. The good news is that Beth Silverman and Roberta Rea are pleased to announce each is continuing their Executive Search Services as part of their own separate businesses and you are welcome to contact them as shown below.
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Homework Help
Better Students Ask More Questions.
What are the advantages and disadvantages for smoking?
Topic: Social Sciences
What are the advantages and disadvantages for smoking?
28 Answers | add yours
So which are you asking? The topic says "positive," but Post 1 says "why not to." Those seem like different things.
I don't really think there's much in the way of positives about smoking. Some people think that it helps them keep from gaining weight. Some people think that it makes them look cool. Outside of that, I can't really think of anything good.
As for bad stuff, there's a tremendous amount of bad stuff, starting with yellow teeth and that stink clinging to your clothes and ending up with heart problems and cancer.
Posted by pohnpei397 on May 3, 2011 at 1:46 PM (Answer #2)
yea u're right but the average age in Cuba is over 70 years, and more of 80% smoke cigars and tobacco and cocaine... why is that?
Posted by redwine21 on May 3, 2011 at 1:52 PM (Answer #3)
Of course there are positive things about smoking pohnpei397. The massive amounts of smokers world-wide line the pockets of big companies like Phillip Morris. Let's not forget tobacco farmers who get a piece, albeit small, of the pie. Then there are health care professionals who get a piece of the action when treating people for the cancers that may or may not be a result of the delicious carcinogens that may or may not intentionally known or unknowingly used in the cigarettes. Of course there are also the scientists who spend their lives searching for a cure for the delightful results of such a wholesome past-time. Finally, what a wonderful opportunity those non-smokers get to enjoy secondhand smoke. Heck, they don't even have to pay for the cigarettes to get some of the benefits.
Posted by ask996 on May 4, 2011 at 12:52 PM (Answer #4)
Man, I really have to dig deep to come up with positives about smoking. It creates jobs in both agriculture and industry, and, uh, I guess, in health care with the dearth of smoking-related illnesses. It represents the freedom of personal choice, just as consuming alcohol can be self-destructive yet many people still do. Smoking is social (to quote The Breakfast Club, "Demented and sad, but social").
Posted by brettd on May 4, 2011 at 2:09 PM (Answer #5)
The only positive things about smoking is that it makes money for the producers of tobacco products and the farmers who grow it; and it provides some momentary pleasure to the smoker. Needless to say, those are paltry positives compared to the health costs, the actual costs of tobacco products, the well known adverse side effects; the lack of social acceptance, etc. If you want a positive, perhaps Lord Chesterfield said it best; although he was speaking of sex:
"The pleasure is momentary, the position ridiculous and the expense damnable."
Posted by larrygates on May 4, 2011 at 2:27 PM (Answer #6)
Another possible positve outcome for smoking could be the social aspect. For some people who are shy or have difficulty meeting people, smoking may be that ice breaker that starts a conversation and a relationship. We all see people gathered in groups outside of places where smoking is not allowed socializing. This group astmosphere may be a blessing for some people to meet friends that they may not have otherwise. Something simple like asking to borrow a lighter to light a cigarette could be the opening into a conversation that some people need.
Many people are also calmed down by smoking and they use it as a stress reliever. This may not be the healthiest way to do these things, but it does have a positve short term affect for the smoker.
Posted by tpriegel on May 4, 2011 at 6:39 PM (Answer #7)
Pleasure. That is the only positive thing that cigarettes give a smoker. Unless of course the smoker considers the fact that this form of pleasure has no way of being done responsibly and will definitely kill a large portion of his/her cardiac and and respiratory system, among the several others.
As far as the reason behind the average life span of Cubans being so long goes, you'd have to enquire with the Castros.
Posted by justaguide on May 4, 2011 at 8:50 PM (Answer #8)
in reply to most of u're posts:
looking to the economic benefit, it's true that these huge firm are making a lot of gain, also the doctors... their is no doubt that this causes a lot of troubles to the body systemm but also fast food does, and al the pestizides in food does, and the cans does, and the food preservative does.
In fact the illness is due to the virus in the atmosphere, in the food, in the industrial air, due to the pollution. Long time ago people used to smoke but also the material used were much more natural than nowadays and the diseases were much more less than now.
Smoking is a factor that troubles the body, but all of you are exposes the a lot of different factors that troubles your body too.
Posted by redwine21 on May 5, 2011 at 3:52 AM (Answer #9)
It may be true that we are exposed to environmental pollutants on a daily basis but this is not close to the damaging effects that smoking has on our bodies. When people smoke they are directly inhaling toxins into their lungs which is a lot different than exposure to pollutants in the air.
There are certainly not many benefits to smoking. People need to "make" the cigarettes that people smoke. Many have jobs because of this.
Posted by besure77 on May 7, 2011 at 8:54 PM (Answer #10)
In industrialised societies, cancer is second only to cardiovascular disease as a cause of death. There is nothing in the natural environment that can cause cancer. So it has to be a man-made disease, down to pollution and diet.
Posted by redwine21 on May 8, 2011 at 12:05 PM (Answer #11)
Certainly, a smoker can provide you a long list of positive reasons pro smoking. The most common argument is that the smoking kills boredom (unfortunately, smoking kills also the one who gets bored).
The list of a smoker is full of fake arguments pro smoking, like the followings:
- "smoking doesn't mean addiction, one can give up smoking at any time" (evidently the denial state of a smoker)
The truth is that the chemicals from a cigarette reach from the lungs to the brain and stimulates production of dopamine, a substance that induces wellnes. Although nicotine induces a good feeling of happiness, the body needs increasing amounts of nicotine to keep this state.
Posted by giorgiana1976 on May 9, 2011 at 10:27 PM (Answer #12)
The only positives for smoking is the revenue created for pulmonologists, hypotherapists, psychologists, oncologists, surgeons, oxygen tank rentals, farmers who grow it, factories that produce them, the paper industry, to name a few. Everyone else loses.
Posted by trophyhunter1 on May 17, 2011 at 2:36 PM (Answer #16)
In some aspect there is benefit of smoking. It gives chances to grow friendship just asking lighters to the smokers. Farmers, the producers of tobacco might earn and Tobacco Company might go in profit. Government can take tax in tobacco items than other normal items.
Some smoke for making stomach empty while they go toilet. Foam of smoke somehow can help minimizing the bacterial effects into the body I believe because it would be not tolerable to them because of its toxin. Smoking might help to show gentleness for boys in front of ladies. However, being these advantages at last that is not a far sight inviting cancer.
Posted by kukarad70 on June 9, 2011 at 8:31 PM (Answer #19)
There are not many positive aspects to smoking apart from making you look 'cool' or 'hard', getting you into better social clicks but the conseqences could be as bad and lung cancer or as small as bad teeth but either way it still harms your health.
Posted by coolpenguin on June 10, 2011 at 9:07 PM (Answer #20)
1) Relives the stress and gives you the right mood2) Frees you from boredom3) It solves most unsolvable issues4) It can keep you away from overeating and keeps your weight in control.5) You keeps thousands employed who is involved in the manufacturing business
Posted by scavenger2 on June 12, 2011 at 9:56 PM (Answer #21)
What are positives to not to smoke is a contradiction, no? IMHO whatever the benefits to smoking the negatives far outweigh them, that's why it's unlawful for kids.
Posted by jfinguy on June 14, 2011 at 7:15 AM (Answer #23)
For some people, smoking may be something they do to keep from eating. For these people it is a positive. The negatives far outweigh the positives.
Clothes, car, furniture, hair and fingers smell of cigarettes for those who smoke. Smoking ages one's skin, and colors one's fingers and teeth. Cigarettes litter the environment. The incidence of lung cancer is much higher from secondary smoke than for the smoker, so those around the smoker are more likely to get the disease. Smoking around children is nasty. They have no choice as to whether they inhale noxious smoke or not, and it is like slowly poisoning them.
Cigarette smoking, as someone mentioned, makes tobacco companies very rich, even though it has been proven and (and tobacco companies admit) how dangerous and addictive (and expensive) smoking can be.
If thousands of people smoke and survive, I wouldn't want to be the ONE who gets cancer. My grandmother never smoked and yet died of it. I wouldn't care if the rest of the world lives to 100 and smokes. I don't do things because others do; I do what is good for me, and especially what is good for those around me. I don't want to lose years for smoking. I'm afraid I can find very few positives with regard to smoking.
Posted by booboosmoosh on June 18, 2011 at 5:46 AM (Answer #24)
The positives and benefits of smoking are decreasing more and more every day. Back in the 1940's and 1950's Hollywood brought a lot of glamour to cigarette and cigar smoking so people thought it was a sign of luxury and being in the upper crust. Until the laws started turning the tables on smoking in the 1980's and 1990's, it was legal to smoke in restaurants and workplaces. Now it is not. People just don't look at smoking as positive anymore. They frown on it and they don't want people doing around them anymore. So if one smokes, he finds himself doing it outside which can be a real bummer in the winter time. I remember when I was in high school there actually was a smoking area on our campus. Now the laws have prevented this. Honestly, I do believe it is a good thing.
Posted by prayergal on June 21, 2011 at 2:58 PM (Answer #25)
people find smoking socially between friend is enjoyable. poeple find it as a luxuray, so when they are out and with friends its almost like they are treating themselve. this may be hard for some people to understand but people actually do find it enjoyable.
Posted by blackera on June 22, 2011 at 12:09 PM (Answer #26)
yea u're right but the average age in Cuba is over 70 years, and more of 80% smoke cigars and tobacco and cocaine... why is that?
Cuba is often said to have a successful, even admirable health care system. I don't think that smoking does anything to contribute to a person's life span. Universal health care, on the other hand, would likely improve both the length and the quality of life for the population as a whole.
At any rate, the fact that 80% of Cubans smoke (is that even true? and how often do they smoke?) and long-lived cannot be taken a proof that smoking doesn't short lifespans. Lifespan is determined by all sorts of things, including diet and exercise and access to health care.
Posted by jk180 on June 30, 2011 at 10:21 PM (Answer #30)
Posted by bayeh11 on July 26, 2011 at 8:03 PM (Answer #49)
There are no "positive things" about smoking. It is a ridiculous habit that is costly in terms of money and in terms of health. My grandfather was a tobacco farmer. Both my parents and most of my other family members used tobacco. My brother never has an unlit cigarette in his hand unless he's eating or sleeping. I have never understood why anyone would want to smoke. What is the appeal of tobacco? Why do people smoke would be a better question. As children, we're taught not to play with matches and to stay away from fire. Yet when we grow up we put a stick of rolled up dried leaves in our mouths and set it on fire. Ridiculous!
Posted by linda-allen on August 19, 2011 at 5:57 AM (Answer #71)
1, you can relax a bit
2, provide job opportunities
3, provide business for medical sectors
Posted by nanina on September 3, 2011 at 1:53 PM (Answer #80)
i dont think there is really anything right to smoke... other than making money from selling cigarettes... also i havent experienced it myself so... not sure if i agree on relieving stress and boredom ._. well i think its best not to smoke at all :)
Posted by cheezea on September 9, 2011 at 10:09 PM (Answer #81)
There was a recent study done that claims that nicotine actually helps to combat alzheimer's disease...of course if you die early from a smoking related illness I suppose alzheimer's is the least of your worries.
Posted by adavison77 on September 28, 2011 at 9:56 AM (Answer #82)
yea u're right but the average age in Cuba is over 70 years, and more of 80% smoke cigars and tobacco and cocaine... why is that?
I would probably attribute Cuban longevity to the lack of chemicals in their cigars and tobacco. It's the chemicals in cigarettes that cause much of the cancer and health issues. Cuban cigars are popular for that reason. Furthermore, the health care system in Cuba is more universally accessible than in the US. Lastly, the lifestyle of Cubans is probably a factor, although I have nothing except intuition on that one.
Posted by dianajjkeng on October 20, 2011 at 6:44 AM (Answer #83)
There are lots of thing are positive about cigarette.It helps to come out from stress.It gives cool looks in your personallity. There is very big industry behing cigarette and people who are working in this industry,they haven't any other income source.
Posted by markbenson123 on November 5, 2011 at 8:43 AM (Answer #84)
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48-in H x 15-in W Aluminum Wheelchair Ramp Threshold Plate
Type | Threshold plate |
Width (Inches) | 15.0 |
Height (Inches) | 48.0 |
Material | Aluminum |
Finish | Powder-coated |
Manufacturer Color/Finish | Textured anti-skid powder-coated |
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Educational Attainment In The Oecd, 1960-2010
This paper describes the construction of series of educational attainment of the adult population insample of 21 OECD countries covering the period 1960-2010. These series are a revised version of the data set described in de la Fuente and Doménech (2002)Download Info
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Paper provided by Unitat de Fonaments de l'Anàlisi Econòmica (UAB) and Institut d'Anàlisi Econòmica (CSIC) in its series UFAE and IAE Working Papers with number 911.12.Length: 82
Date of creation: 25 Sep 2012
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Handle: RePEc:aub:autbar:911.12
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Keywords: educational attainment; schooling.;Other versions of this item:
- Angel de la Fuente & Rafael Domenech, 2012. "Educational Attainment in the OECD, 1960-2010," Working Papers 1220, BBVA Bank, Economic Research Department.
- Angel de la Fuente & Rafael Domènech, 2012. "Educational Attainment in the OECD, 1960-2010," Working Papers 658, Barcelona Graduate School of Economics.
- I20 - Health, Education, and Welfare - - Education - - - General
This paper has been announced in the following NEP Reports:
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- Angel de la Fuente & Rafael Doménech, 2006.
"Human Capital in Growth Regressions: How Much Difference Does Data Quality Make?,"
Journal of the European Economic Association,
MIT Press, vol. 4(1), pages 1-36, 03.
- Angel de la Fuente & Rafael Donénech, 2000. "Human Capital in Growth Regressions: How much Difference Does Data Quality Make?," OECD Economics Department Working Papers 262, OECD Publishing.
- ?gel de la Fuente & Rafael Dom?ech, . "Human Capital In Growth Regressions: How Much Difference Does Data Quality Make?," UFAE and IAE Working Papers 446.00, Unitat de Fonaments de l'Anàlisi Econòmica (UAB) and Institut d'Anàlisi Econòmica (CSIC).
- de la Fuente, Angel & Doménech, Rafael, 2000. "Human Capital In Growth Regressions: How Much Difference Does Data Quality Make?," CEPR Discussion Papers 2466, C.E.P.R. Discussion Papers.
- Barro, Robert J & Lee, Jong Wha, 1996. "International Measures of Schooling Years and Schooling Quality," American Economic Review, American Economic Association, vol. 86(2), pages 218-23, May.
- Javier Alonso & Jasmina Bjeletic & Soledad Hormazabal & Carolina Romero & Carlos Herrera & Ivonne Ordonez & David Tuesta, 2009. "Proyecciones del impacto de los fondos de pensiones en la inversion en infraestructura y el crecimiento en Latinoamerica," Working Papers 0921, BBVA Bank, Economic Research Department.
- Sara G. Castellanos & F. Javier Morales & Mariana A. Toran, 2012. "Analysis of the Use of Financial Services by Companies in Mexico. What does the 2009 Economic Census tell us," Working Papers 1216, BBVA Bank, Economic Research Department.
- Sara G. Castellanos & F. Javier Morales & Mariana A. Toran, 2012. "Analisis del uso de servicios financieros por parte de las empresas en Mexico. Que nos dice el Censo Economico 2009," Working Papers 1215, BBVA Bank, Economic Research Department.
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March 11, 2014
Four lawmakers vying for leadership of Japan's main opposition party have promised to protect Japan's control of islands at the center of a territorial furor with China.
Former Prime Minister Shinzo Abe blasted China at a press conference Wednesday after anti-Japanese riots flared across China. He says that if Beijing can't protect Japanese living in China it "should not enjoy membership in the international society."
The conservative Liberal Democratic Party chooses a leader Sept. 26. The winner may become prime minister if the LDP wins elections that the prime minister has said he will call soon.
Former defense chief Shigeru Ishiba says that "losing a piece of the territory eventually means losing the whole country."
A fifth candidate, Nobutaka Machimura, was hospitalized Tuesday for exhaustion but remains in the race.
Copyright 2014 by The Associated Press. All Rights Reserved.


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Life Is Good Women's Flip Flop High 5 Chill Cap
Item # 712428
Key Features
Fabric and garment washed for weathered look
Low profile design and relaxed fit
100% cotton twill construction
Adjustable back closure with snap
Our Price $22.00
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Life Is Good's Chill Cap is fabric and garment washed to create a weathered look and feel. Low profile and relaxed fit looks great on everyone. 100% cotton twill is comfortable and durable. Adjustable back closure with snap. Jake face on inside button and embroidery on back. Imported. Item #: 21448-OS.


text:
High School Education Takes On a Global Dimension
New doors open as students at Chicago's Walter Payton College Prep learn an international perspective reinforced by four years of language study, global videoconferences, and travel abroad.
New doors open as students at Chicago's Walter Payton College Prep learn an international perspective reinforced by four years of language study, global videoconferences, and travel abroad.
Release Date: 9/26/07
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High School Education Takes On a Global Dimension (Transcript)
Paul: Hey, good morning, Matthew, can you hear me fine?
Matthew: Yes.
Narrator: It's 7:30 on the north side of Chicago.
Paul: Okay, we're mostly here. We're missing a couple of people.
Narrator: And for Walter Payton High School's championship math team, it's time for donuts--
Student: I prefer it with jelly.
Narrator: And distance learning.
Matthew: You can start with an integer like two--
Narrator: A Q and A with a mathematician in Switzerland.
Matthew: There's an infinite number of integers, so there are an infinite possible number of states, and this turns out to be how you can store an arbitrary amount of information.
Paul: Matt Cook really is one of the world experts in this field. And so this is an opportunity for them to interact with somebody who's actually doing research in the area that we're talking about, and that's really neat.
Narrator: At this science math and world language magnet, every subject seems to have a global dimension.
Paul: Conceivably, if every city is connected to every other city, like, one obvious algorithm here is void segment C, D.
In a single day, we could talk about math problems from China, which is how I introduced one of my units in trigonometry. Geometry problems from Japan, computation problems from France, I mean, the possibilities are really endless.
Ellen: Payton began with a vision that, by putting together a great faculty of teachers who had the desire to nurture global leaders, we would be able to create a curriculum and programs to set us apart from any other high school in the nation.
Narrator: One distinguishing factor is Payton's requirement of four years of foreign language study. Offerings include Spanish, French, Mandarin and Japanese.Language acquisition is a profound thing, because when you learn another language, you learn the way other people think. You are really learning to keep several points of view in mind. It's important to have more than one perspective, now more than ever.
Jeremy: My friends and my family, they're very much happy to see me try to learn these languages, because they are quite difficult. At the same time, they're quite fun, and I'm learning so much about foreign countries and about foreign affairs, just based on taking Japanese for a couple of years.
Narrator: The school plays host to a steady stream of visitors.
Ellen: Good morning, and welcome to Walter Payton College Prep.
Narrator: Like this delegation of 25 Chinese Mayors.
Ellen: You are in a wonderful, wonderful city right now, the City of Chicago, the city of immigrants.
Narrator: This group gathered at The Confucius Institute, a resource center at Payton, funded through a partnership between the Chinese government and the city of Chicago.
Ellen: We're very proud to host the Confucius Institute and to give a global perspective to our school.
Robert: We really want to make sure Chicago is at the forefront of Chinese people's minds, when they're thinking about the United States. So we teach our children, not only the language, but we teach them the Chinese culture, and that's going to create a strong foundation for the city, so that more and more business and cultural exchanges can go on in the future.
Narrator: Chicago has the largest Chinese language program in the United States, with more than 6,000 students studying Chinese in 28 schools.
I have to make it fun and easy, and then also at the same time, they have to feel like they are-- they're learning a lot.
And then make them laugh, and I try to make them laugh every day, so that they think, oh, it's not boring, and then, when they like it, they'll do well.
Robert: We have many, many students who are recent immigrants from Mexico, and they all speak Spanish at home, and they are learning Chinese and English at the same time, so essentially, these kids will go through 13 years of education, where they're learning English, Spanish and Chinese, and they will come out pretty much as the most marketable students in the United States.
Teacher: Good. Are we ready? And..
Narrator: Technology plays a key role here, from tools to create rap videos in French..
Doctor: So it doesn't cut through the aorta.
Narrator: To this health class where students interact with doctors performing open heart surgery at a Southside hospital.
Teacher: What about Walter Payton, do you guys have any questions?
Student: Doctor, I was just curious. How would this surgery differ if somebody had already had a bypass surgery?
Doctor: That's a good question. Fundamentally it's the same operation, you know, that--
Narrator: The same technology has facilitated face-to-face encounters with students in several sister schools.
Student: I'd love to give you some information about my school--
Ellen: We connect with an all Islamic Intercity school in Casa Blanca, Morocco, a school in Osaka, Japan, we have sister schools in Concepcion, Chile, and in China. And a school in Durban, South Africa.
Student: I want you to play me something.
Luis: It's amazing, I mean, to see our students' reaction when they get so see someone from South Africa, from Morocco, and even though they are so far, and they speak another language, they still do the same thing, they still like going to movies, they still like dancing, they still sing and they're teenagers.
Narrator: Most students prefer real world exchanges to virtual ones, and by raising their own funds, all students have the opportunity to travel abroad.
Grace: When we were in France, all the things said, Coiffeur, on it. I think that's--
Narrator: French student, Grace Stome, visited Strasbourg, France, and spent a week in Morocco.
Grace: The second the plane touched the ground, we knew this was going to be way more than we could ever expect, a great experience. Everyone there was so hospitable and welcoming. We met all these dignitaries but that was-- while that was nice, it was even better to get to spend time with the kids and talk to them, and go to their classes, and go home with them on home stays. We wanted to speak French with them, but they said, no, no, let us speak English. We want to show you how we can speak English, and it was just an eye opening experience that I'll never forget.
Robert: Educators should always be looking at how can we open more doors for students. I find that when you open those doors, and when you expand those horizons, you never can close them, and that's going to change these students' lives, and their families' lives and their communities lives forever.
Wenya. Electronic flower? No. Okay?
Narrator: For more information on, What Works in Public Education, go to edutopia.org.
Video Credits
Produced, Written, and Directed by
- Ken Ellis
Associate Producer:
- Amy Erin Borovoy
- Karen Sutherland
Camera Crew:
- Rob Weller
- Bennett Spencer
- Kris Welch
Original Music:
- Fareed Haque
Additional Footage Courtesy of
- Walter Payton College Prep
- © 2007
- The George Lucas Educational Foundation
- All rights reserved.
© 2007 | The George Lucas Educational Foundation | All Rights Reserved


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Bigger and Brighter in Texas
By Julien Tomasello
On May 19, 2005, the Goss Gallery opened its doors for the first time with an exhibition of provocative work by photographer David LaChapelle. Kenny Goss, owner of the gallery and longtime partner of pop superstar George Michael, dished with Out about Dallas, David, and his personal tips for collecting art.
Congratulations on the opening of Goss Gallery. What made you choose Dallas as the locale for the new space?
I'm a Dallas native. Plus my family lives here, and George and I have a home here. So Dallas just naturally seems to be the perfect location for my new project.
In the past decade, a great deal of attention has been focused on Houston and its contemporary art scene; particularly with the strong number of young, talented artists working in that city. Do you hope to draw the same attention to Dallas as a hotbed of visual culture?
Absolutely. I think Dallas has the potential to be become one of the most important centers for contemporary art in the country, right alongside New York, Los Angeles, and Miami. The museums and private collections here are world-class, and the audience is incredibly sophisticated. The Goss Gallery hopes to bring to Dallas what Dallas expects from the gallery, namely the best in contemporary art.
Dallas has a reputation for liking things big'big cars, big homes, big business. Does the size and design of Goss Gallery live up to this reputation?
I'll say this'we have a great space, a fantastic location and definitely big talent on the wall!
What will be the focus of your gallery in terms of contemporary art?
The focus will be on contemporary photography, painting and sculpture. The gallery is dedicated to exhibiting a truly international roster of artists from both sides of the Atlantic. We work closely with Hamilton Gallery in London, as well as Cheim & Read and Paul Kasmin galleries in New York to assist in presenting an interesting and well-conceived program.
You're certainly getting off to a fantastic start. Why the choice to inaugurate the Goss Gallery with an exhibition of photographic work by David LaChapelle?
David's work represents the true contemporary American artist. His work deals with pop and celebrity culture, and embodies all-American icons and obsessions. Plus I'm an American so I really respond to it.
Speaking of pop and American icons, I love the invitation for David's exhibition Amanda As Marilyn. The portrait, which places celebrity transsexual Amanda LePore as Marilyn Monroe, is clearly inspired by Andy Warhol's famous Monroe silkscreens. In fact, I see many similarities between David and Andy's work. Can you comment on that?
Absolutely. David is surely the one artist who takes the Warhol legacy to the next level. He manages to express the Warhol-esque approach to creating art through his mixing of pop culture and sub-culture, and through his use of photography. Yet David still creates something uniquely his own and poignant to contemporary culture and art.
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About 12 years ago, because of my love for animals, I started down a path towards eliminating them from my diet. Like many people, I started with "red meats". Shortly after that, chicken was the next "meat" to go. I began to feel empowered by my choices and their immediate impact on the lives of animals. I continued to educate myself and soon found it impossible to continue drinking milk or eating cheese and ice cream. Finally, eggs were added to the list. But what I know now has led me to conclude that in terms of the numbers of animals suffering, I might have given up eggs first. The factory farm system of egg production is tragic. In order to maximize profits, the quarter billion egg-laying hens in our country are kept in extremely inhumane conditions. These hens are stuffed into a small wire cages, typically the size of a file drawer, where they are kept with up to six other birds for their entire lives. Because the battery cage is so small, the hen is deprived of all of her natural behavioral needs. She is unable to exercise or to fly, to stretch her wings, to scratch and peck at the earth, to dust bathe or to build a nest in which she can lay her eggs free from stress and in comfort. When the hen is deprived of her nesting instinct, she will attempt to escape for hours before having to lay her egg while standing on the thin wire floor of her cage. To increase her overall production of eggs, she is periodically starved for up to 14 days in a process called "forced molting." After about two years, when her laying life is finished, she is sent to slaughter where her badly damaged body cannot be packaged whole for the consumer to view, but can only be ground for foods like soup or pot pies. As an advocate for farm animals, I am continually encouraged by the conscious connections that people are making between gentle feeling animals and the food products of the modern grocery store. I believe that this awareness is creating new vegetarians every day. When PAWS took on the campaign to educate people about the egg industry, I took on the job of bringing that awareness and compassion a little farther down the road to the heartbreaking reality of the egg. I've talked to friends, family, co-workers, legislators, media and the public about egg production and I've seen awareness begin to take hold. I believe that awareness is what gives us the power to speak up for animals and to make choices that reflect our compassion for them. The next time you consider buying food made with eggs, think compassionately. Think about the hens.
Senior PAWS Advocate
Back to Issue 48 Contents
Back to PAWS Magazine Issues


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Summary: Johanna Drucker's essay on the work of Gelett Burgess.
In 1896, artistic activity in San Francisco was hardly attracting the same attention as that of the cosmopolitan capitals of Europe and England. Yet there was abundant communication among artistic circles through print sources, and graphic materials were a primary conduit for the exchange of aesthetic ideas and forms. So when Frank Gelett Burgess conceived and designed an unusual sixteen-page pamphlet, printed on wallpaper, trimmed to a trapezoidal shape, and full of parodic references, he was making a critical argument about cultural networks and industries as well as making an original and unique piece of humor. Le Petit Journal des Refusées purported to be a publication consisting of works rejected by at least three other journals. The piece was really the work of Burgess and a few of his friends.1 The result of a late-night marathon of drawing, cutting, pasting and high-spirited play, Le Petit Journal still commands attention through its unusual graphics and design. Burgess was a humorist, an artist and writer who became an active voice in the San Francisco Bohemian scene. But the amusing pamphlet would provide only passing interest if it were not for the remarkable degree of self-consciousness with which it exposed the social nature of aesthetic production. Le Petit Journal is indisputably an artifact of late nineteenth-century international cosmopolitan culture, with references mainly Anglo-European and American. But the publication is at once parodic and original, an expression that recognizes that artistic creation begins in the social sphere. This conception shows in the graphic and literary texture of the work. This idea that a literary publication could be simultaneously a milieu for publication and an exposé of the inter-dependence of literary life and social scene is central to its composition as well as its themes and imagery.
What are we to make of this peculiar artifact? 1896, after all, was a year of unusual work. With the monumental Kelmscott Press edition of William Chaucer as one landmark and Stéphane Mallarmé's vision of a spatialized, constellationary poem, Un coup de dés as another, the little Petit Journal has some serious contemporaries with which to be compared. While it will inevitably, and correctly, end up as the lightweight in such hefty company, the piece is at least equally self-conscious about the complexities and contradictions in experimental publications. It may even have a greater degree of self-consciousness about the social life of aesthetic practices.
Start with the unusual production format. Flecks of metallic stuff glitter in the flocked wallpaper on which it was printed. The large sweep of the pattern suggests grand formal rooms in high bourgeois manner. But the small scale of the pamphlet, cut from such paper, creates a bounded, finite space bracketed from and within the larger sphere of which it is inevitably a part. The material metaphor links production issues and editorial perspectives: the pamphlet is a piece of a social fabric whose extension exceeds the journal's bounds. Meanwhile, the trapezoid shape whimsically destabilizes the object, which cannot take its place on a bookshelf without tipping forward or backward from the upright stance of better-behaved publications. The diagonal cut across the bottom edge makes it impossible for the work to rest on the firm ground of convention.
The graphics on its cover are reminiscent of things familiar to a literary public in 1896. The style and motifs echo the work of the most infamously renowned of British decadents, Aubrey Beardsley. Beardsley's images to accompany the first English translation of Oscar Wilde's Salomé had made their public appearance in 1894, and Beardsley's work and imitators became a veritable industry.2 The Wilde play, originally in French, had been banned from the London stage by an order of the Lord Chamberlain. Biblical characters, it seemed, were not meant to be vulgarized as theatrical entertainment. But the publication was immediately notorious. Beardsley's suggestive images inspired their own censorious reactions, though Wilde expressed appreciation of the artist's grasp of the erotic subtleties and perverse sexuality of his work. The distinctive style of Beardsley's drawings became immediately recognizable. Amid a host of other talented artists and illustrators of the period, Beardsley established a visual style so distinctive that it was readily parodied. When Burgess sat down to the drawing table to sketch his collection of femmes fatales for the cover of Le Petit Journal, he turned to Beardsley's sinewy line, carefully designed white shapes, and striking contrasts of pattern and motif in order to compose his own gallery of stylized figures.
The reference to Beardsley is a conspicuous sign that Burgess conceived of his publication within an existing sphere, as part of its current vocabulary and concerns, not naively or incidentally, but as a self-conscious gesture. Why not pick the popular work of Arthur Rackham, Walter Crane, or Edward Burne-Jones, equally available for imitation? Rackham's dark charms and elegant sense of the page, Crane's rather chaste sensuality and delicate lines, and Burne-Jones's pseudo-medievalism, though all artful, did not exude the decadence that made Beardsley's work so much an expression of the recirculating air of hothouse life, unhealthily contained and constrained by social ennui. If Rackham's fantastic images offer a glimpse of the fantasies and occasional nightmares that lurked in late Victorian nurseries, they did not make a cult of their own neurasthenic exhaustion or strike a pose of debauched affectation.3 The knowing-ness of Beardsley is not a betrayal of innocence, but an argument against its possibility in ways equaled perhaps only by the sensual opulence of the French symbolist painter Gustav Moreau, who was equally adept at his portrayal of Salomé. Moreau's images have a heterosexual orientation and are equally seductive. The erotic portrayal of the young woman is elaborately integrated with the power of aesthetic surface and symbolist tenets. But Burgess's decision to imitate Beardsley is a deliberate choice to parody decadence and all that it implies, not merely late Victorian popular art or esoteric fine art. The fact that he picks a well-published and recognizable illustrator reflects Burgess's interest in a public audience and the ability of reference values to be shared through print circulation. The critical edge is sharper for this combination of concerns, since the shock tactics of that proto-avant-gardiste set was so resolutely determined to affront the sensibilities and hypocrisies of the world of bourgeois readers of which it was a part. Burgess puts the decadent stance firmly back into the framework of social relations and conventions.
More could be said about the details of the cover of Le Petit Journal, and a few remarks will follow below, but the interior pages show a remarkable range of inventions. Each turning shows a new form of border, drawing, design, and layout, while type and fonts shift according to the demands of each piece. The crazed diagonals and high-contrast shapes of one border are replaced on the next by nearly obscene cartoon characters. These baldy-headed figures interlink their tongues in a suggestive, sloppy way that seems more like R. Crumb and underground "comix" characterized by Zap! in the late 1960s than like any late Victorian motifs. Burgess's in-your-face patterns are a long way from the elaborate organic borders of the Arts and Crafts movement invented by the masterly hands of William Morris, Burne-Jones, and the many followers they inspired. One looks in vain for precedents for Burgess's rubber-limbed figures or Medusa-haired heads grinning toothy smiles, or screaming cats in sketchy ink, or plaid, polka-dotted, and checkered animals adrift in a wild night sky. Burgess has more of Little Nemo, Krazy Kat, Maurice Sendak, and Edward Gorey in him than Randolph Caldecott or Kate Greenaway. The sheer range and variety of Burgess's graphic imagination shows a playful spirit at full tilt, enjoying the act of drawing and cartooning for its own mad pleasure.
Burgess's writing skills were honed in the society journals and culture magazines in which he published regularly. The Wave, a Bay Area magazine for "those in the swim," provided employment. His often droll and amusing commentaries on the vagaries of San Francisco architecture, or theatrical productions at the Orpheum and other vaudeville sites, appeared regularly in the 1890s.4 The illustrations, photographs, and decorative motifs that populated advertisements in the back pages of these publications were all fodder for Burgess's eye and hand. Certainly the black cat motif noted above called forth associations of Le chat noir with its suggestions of a particularly delicious Parisian wickedness. The public life of aesthetic references never seems far from Burgess's mind, however. The deliberately parodic style of the pieces in Le Petit Journal is derivative on purpose, to prove a metacritical point. They play with what postmodern theorists would (rather tediously) term the "always already" nature of imagery and ideas– the conviction that only methods of appropriation and détournement were jaded and self-conscious enough to escape the naïve belief in originality that had plagued the avant-garde.5 Such critical concepts belong to the century after Burgess engaged in his serious play. In keeping with his own era, for all his evident awareness of the social life of images and texts, Burgess is essentially an earnest and amusing fellow, eager to delight the reader at the expense of artists as well as the ladies who cultivated them. His contemporary audience, familiar with their local business directories, etiquette books, sophomoric yearbooks and other adolescent hijinks, would feel at home, at least, on the threshold of Burgess's strange world, even if they might hesitate to pass through the doorway of rooms without floors, where his invented "goops" played slightly hallucinatory mind-games.
Those "goops" became one of Burgess's most successful undertakings. His bibliography shows several titles in the 1900s for publications based on these rubbery figures. He pressed them into service as a way to instruct the no-doubt recalcitrant young in the norms of good behavior through the lessons contained in such works as the 1900 Goops and How Not to Be Them. But it would be a mistake to consign Burgess to the ranks of authors of juvenile literature. Though he did make a success of the works for children, his engagement with nonsense as well as other humor is an adult undertaking. As Joseph Backus, his most assiduous commentator, has noted, Burgess's nonsense exhibits serious commitment to an artistic vision and purpose, "a logical but uncommon process of association guided in part by meter and rhyme."6 Nonsense, in other words, is a metacritical act in its own write, playing with the contrast between formal coherence and conceptual disorientation as a way to renew a reader's own relation to received form. Burgess played out his nonsensical sensibility in the elaborate adventures of the central character of his 1897 farcical novel, Vivette.7 A free-thinking, gifted, and daring (as well as alluring and liberated) young woman, Vivette is a sort of Nadja avant-la-lettre, but with more humor and fun in her than Breton's pathetic muse. The writing in that book is tight, light, and right on the line of being enactment and parody of the genre of romantic adventure tale.
Throughout his career, in fact, Burgess played with sustained conceits. His narratives were often skirting this line between nonsense and more conventional humor. Aside from Le Petit Journal, the only substantial text in Burgess's oeuvre that is a lengthy parody of a literary work (and comments on its production) is his 1904 Rubaiyat of Omar Cayenne.
Burgess was successful as a writer. By the late 1890s, just into his early 30s, he was compared with Rudyard Kipling as an emerging star in the literary firmament. Hardly remembered with the same degree of distinction today, Burgess had experienced an early flash of success when his nonsense quatrain, "A Purple Cow," received notable acclaim.8 Burgess pretended to rue the success of the short poem, and no doubt wished he could be other than "the man who wrote 'The Purple Cow'," but the ditty exemplified the spirit that guided his work throughout his career. In 1885 he had founded The Lark, in which that poem appeared. His two-year stint editing and writing for that monthly sixteen-page publication had no doubt perfected the skills he put to such focused purpose in Le Petit Journal. His turn to the writing profession had come about when he was dismissed from his post teaching technical drawing at the University of California, Berkeley (he had obtained a degree from MIT in his native Boston), for defacing a statue of the eminent Bay Area dentist Henry Cogswell.9 The boyish spirit and delight in pranks is still evident in Le Petit Journal, which could be characterized as a bit of juvenilia if it were not so self-reflexive. Nothing in The Lark really prepares us for the full-throttle over-the-top density and referential richness of Le Petit Journal. To cite Backus again, The Lark has many of the same characteristics as the vaudeville variety programs that Burgess was attending and beginning to write about for money. The pieces in its pages were short, varied, consumable, appealing to a broad and not particularly over-sophisticated audience ready to be amused by spinning plates and wistful recitations as easily as a naughty but basically decorous dance by a young thing in flounced skirts. The Lark offerings are a published equivalent, offering sentimental short poems alongside sprightly vignettes. The Lark ran only for two years. Though it received some national notice (Will Bradley commented favorably on the journal in the pages of his own), and brought Burgess a degree of recognition, it proved not particularly viable in financial terms.
The forthcoming publication of Le Petit Journal was announced in the pages of The Lark, however, along with the requisite call for submissions. Issue #6 of The Lark contained the following advertisement:
"The Century is Coming to a Close! Hurry Up and Get Your Name in Print or You'll be Left. There are 63,250,000 people in the United States. 50,000 have suffered amputation of both hands. For the remaining 63,200,000 writers, there are only 7000 periodicals."10
This grisly call for participation was followed by this description:
"It will be the smallest and most extraordinary magazine in existence. It will be printed on Black Paper with Yellow ink. The margins will be very wide, the cover almost impossible. The rates for insertion of prose articles will be only five dollars a page; poetry, ten dollars a page, but no manuscript will be accepted unless accompanied by a letter of regret at not being able to find the same available from some leading magazine. No manuscripts will be refused. Terms are cast, invariably, in advance. Each article in every paper will be blue penciled, and the author's signature underlined. Each contributor will be allowed one hundred free copies of the number in which his article appears. Subscription to the Petit Journal de Refusées will be five dollars a year, single copies, ten cents."
The reference to "black paper" and "yellow ink" is an obvious inversion of the design of The Yellow Book, though of course, absurd, as is the sly reference to the overproduced works of fine press publications whose margins outstripped their content and whose covers were ridiculously elaborate productions with stamping, encrusted jewels, clasps, and other atrocities meant to suggest luxury. The promise for this to be the "smallest" of such publications is another wry comment on the extravagance of over-produced works.
The Lark's pages had not been immune to invention. Quick on the heels of the lines cited above came a piece proclaiming a new "permutational system of psychology" which depended on "interchangeable philosophical paragraphs." Various typographic games appeared in a section titled "The Muse in the Machine," where handwriting and type vie in a contest staged like a dialogue. Burgess also created procedural works worthy of language poets' games, such as "A Lexicographical Romance," a composition governed by alphabetical ordering and word choice. So precedents for the focus on literary forms and processes are already evident in The Lark. Burgess had already employed some of his many pseudonyms—Richard Redforth, Edmond Charlroy, James F. Merioneth 2nd, with their own local and western Americana associations. When he joined forces with fellow artists Ernest Peixotto, Porter Garnett, and Bruce Porter in the late-night marathon production of Le Petit Journal, he had no problem inventing many others for the female authors of the accepted "submissions."
But the texts in Le Petit Journal all contain various levels of reference and humor. The composite portrait of "our contemporaries" is surrounded by a border of monkey skeletons in humorous poses and sits next to a punning sheet announcing the journal's intentions. On the next page the "redacteur in chief" is portrayed in a silhouette cut to the likeness of a sweet young kewpie-haired child, while black and white tears surround its sweet curls amid a flurry of rejection letters. Here the Journal is mocking the literary life of ladies who lunch ensemble, go home and sigh over their writing desks, and then send out their sentimental poems for review. The names on the pieces and the rejection notices are often taken from Burgess's own tales, stories of Princess Perilla or Phyllida or the inimitable Vivette. His circle of references is always closed, and closing in, with a claustrophobic sense that the literary universe is a sort of no exit, in which one recycles one's reputation and pieces endlessly.
The next piece, surrounded by a border of scraggly black cats and spiders, titled "The Ghost of a Flea," is a druggy dreamscape musing with only remote relation to the Blake reference. The journals the piece has been rejected from included The American Journal of Insanity, a real publication that later morphed into The American Journal of Psychiatry, The Purple Cow, The Chap Book (Will Bradley's well-known publication), and The Anthropophagian (of which not a trace remains outside this mention).11 "The Naughty Archer," a poem about shooting angels set in a mixture of metal fonts, was purportedly refused by The Salvation Army publication, "The War Cry," as well as "The Congregationalist," another religious tract.12 The poem is framed by a proto-cubist landscape, composed entirely of geometric forms and figures, in which not a single hopping or yelling cherub can be spotted. The "clubbing list" of "The Complete Alphabet of Freaks" includes those who come in for attack (like the pirating publisher Mosher of Maine), and those acclaimed (like Beardsley, writer "Stevie Crane," or the American designer and artist Will Bradley).13 The inventory is real. The circles and circumferences of the artistic world are actual, and for Burgess, at least, the idea of a work already incorporates the horizons of reception into those of production. No artistic work exists in a void, autonomous and independent. All are part of that cycle of borrowings, derivations, and cross referencing. Le Petit Journal marks the coordinates of that artistic sphere explicitly.
Though graphically manic, and visually wild (witness the sexy little devils surrounding another poem, "Any Old Thing," attributed to Howardine de Pel and "refused by The Philistine, the Bookman, The Bachelor of Arts andthe Boys of New York") Le Petit Journal remains conceptually tame, quite polite.14 "Spring," the final poem in the journal, though bordered by psychedelic cats and set in a meandering experimental non-linear typography, is a good example. Its verses read, "Oh venial Spring! lock Winter's door / And walk the blooming fields once more, / Just like you often done before." It finishes "Ah, life is sweet when Spring has Sprung," and is signed by "Lulu Lamb." The poem, it seems, has been rejected by The Lark, Babyland, and The Butcher's Advocate (also a genuine reference).15 Such work tweaks the amour-propre of Burgess's contemporaries and peers, his patronesses and their circle, rather than questioning the ground on which such persons and their presumptions operate. The advertisement on its final outside cover shows a cycling skeleton on a bike whose tires are made of coins. "A catchy ad," says the copy, "will turn a dollar quickly." The Union Photo Engraving Company identified therein was most likely the place where Burgess had his inky drawings turned into plates for printing. Burgess saw commerce, as well as artistic and social fashion, as part and partner in his undertakings. The wreath of nude figures on the cover of Le Petit Journal, for instance, are labeled with identifying tags: Yachting, Dress Reform, Art, Literature, Counterpoint, and Vulgar Factions. This is the language of the Cliff House crowd, the Mark Hotel scene, and Nob Hill sets—as well as the Bohemian Club, an environment where wealthy businessmen and prominent civic leaders met to strategize and consolidate their power.
After all, Le Petit Journal was formed in the milieu of San Francisco Bohemianism, an atmosphere late and very much altered from its original scenes. The term Bohemian had been spread through the popular reception of Henri Murger's 1851 Scènes de la Vie en Bohème.16 Small artistic groups took on the identity in Europe and the United States, modeling themselves on Murger's images of the Latin Quarter. In the 1850s, a group of artists in New York City gathered at Pfaff's beerhall.17 At its center were the luminaries Walt Whitman and the so-called Queen of Bohemia, Ada Clare. Similar scenes were enacted in Chicago, Boston, and other cities in the United States and Europe. The Bohemian vogue lasted well into the end of the nineteenth century, by which time it had become, as it was in San Francisco, a conventional posture rather than a cutting-edge stance. The appearance of George du Maurier's Trilby in 1894 almost marks its demise, with its exaggerated depiction of an artistic set.18 That novel had its own huge impact on the times, spawning imitators and Trilby fashions of all kinds in the decade just before cinema would launch an entirely new medium for celebrity stardom.
The coming of early twentieth-century modernism, and the break with the historicist sensibility and organic motifs that had characterized arts and crafts and then art nouveau, finally served to put the final bracket on an era in which "Bohemian" could be pronounced with any seriousness in relation to vital artistic activity. The term is apt, however, for Burgess's self-conscious reprise of artistic posturing, and for the at once engaged and deliberately derivative works he created. For by associating himself with the term, he shows his alliance with the middle class who enjoyed being piqued by the almost-risqué—though they lived happily settled lives that conformed to convention. In one of Burgess's reviews of a performing vaudeville family, he describes precisely such a contrast—the image of the cavorting theatrical troupe onstage transformed an hour later into a decorous papa and mama walking their two children back home in the most ordinary way. Their costumes are hung neatly at the theater, make-up has been removed, and hair ribbons and bonnets replace spangles and tights. That image seems quite appropriate for Burgess, steeped as he was in a more realistic relation of art to propriety than most who took their Trilby-esque Bohemian poses and imagined themselves living a life they would never have adopted, let alone invented. That complicit relation between bourgeois milieu and creative art is at the center of Burgess's own work. That is the insight his critical play and parodies provide.
Le Petit Journal des Refusées is thus a paradoxical object—at once created in parodic imitation of contemporary journals, exposing their dependence on a social milieu for which they pretended to flaunt their disdain, and at the same time an utterly sui generis piece of artifice, without any regard for the good taste and decorum that governed many art nouveau publications. Burgess was neither aesthete nor dandy, neither a decadent nor a self-inflated self-promoter putting his talents on parade. His spoofing sensibility had accuracy without harsh bite, and his "art for fun's sake" disposition was at quite a playful remove from the "art for art's sake" stance of even the flamboyant Wilde. A healthy sense of good humor, rather than an antagonism towards his bourgeois condition, characterizes Burgess's work. He knows that the very ladies whose rejected works he parodies are those whose patronage sustains his enterprises. He is not a radical avant-garde artist but rather a wit whose artistry upsets the seriousness of the avant-garde, showing its dependence on a relation that Clement Greenberg, writing in the 1930s in his famous "Avant-Garde and Kitsch," characterized as an "umbilical cord of gold."19 Burgess, with high spirit and play, reveals the complicity of editor and scene, publication and audience, literary expression with artistic milieu. These ideas would become more explicitly part of critical conversation when the theoretical formulations of social art history later made similar claims and arguments in rather a more pedantic mode.
But like any sleight of artistry, Burgess's deft soufflé should not be asked to bear more weight than its airy gestures can sustain. Too ardent a critical reading of Le Petit Journal will only lessen its delight, which remains fresh and engaging in part because we still recognize its references and share in its jests. It winks and plays at the expense of the posturing Bohemians, the artists and their bourgeois set, but makes evident the deep connections that bind Burgess to his circle and circumstance.


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When: | Back to Calendar October 12, 2013 @ 4:00 pm - 5:30 pm | Where: | Hoosier CrossFit 501 North Rogers Street Bloomington,IN 47404 USA |
Contact: | Shaun or Jenna 812-340-0360 firstname.lastname@example.com |
Categories: | Challenge Social | |
This is an event you don't want to miss! HCF is turning 3! We will kick off with a 3-person team workout at 4pm! This is an AMRAP unlike any other! You can earn prizes!! Every 3 minutes, you stop your WOD to complete a trivia question with your teammates. It might be a math problem, a geological question, a riddle – the sky's the limit!!
Afterwards, we plan to dig in to a Pitch-In dinner (we'll grill, you can bring some meat and/or sides), and we'll also provide the Upland Brewing Company Keg!


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Type | Società per azioni |
Traded as | BIT: LUX, NYSE: LUX |
Industry | Eyewear, fashion, luxury, manufacturing, retail, wholesale distribution |
Founded | Agordo, Italy, in 1961 |
Headquarters | Milan, Italy |
Area served | Worldwide |
Key people | Leonardo Del Vecchio (Founder and Chairman), Andrea Guerra (CEO) |
Products | Sunglasses, spectacle frames, prescription frames |
Services | Opticians, optical retail, sun retail |
Revenue | €7,086 million (2012)[1] |
Operating income | €982 million (2012)[1] |
Total assets | €8,421 million (2012)[1] |
Total equity | €3,993 million (2012)[1] |
Employees | 70,307 (2012)[1] |
Website | luxottica.com |
Luxottica Group S.p.A. is the world's largest eyewear company, controlling over 80% of the world's major eyewear brands.[2][3] Its best known brands are Ray-Ban, Persol and Oakley. It also makes sunglasses and prescription frames for a multitude of designer brands such as Chanel and Prada, whose designs and trademarks are used under license. Luxottica also makes sunglasses branded Giorgio Armani, Burberry, Stella McCartney, Versace, Vogue, Miu Miu, Tory Burch, and Donna Karan.[4] Its prime competitor is the Safilo Group S.p.A.
Leonardo Del Vecchio started the company in 1961,[5] in Agordo north of Belluno, Italy; today the company is headquartered in Milan.
Del Vecchio began his career as the apprentice to a tool and die maker in Milan, but decided to turn his metalworking skills to making spectacle parts. So in 1961, he moved to Agordo in the province of Belluno, which is home to most of the Italian eyewear industry.[6] The new company was Luxottica s.a.s., a limited partnership with Del Vecchio as one of the founding partners.[6] In 1967, he started selling complete eyeglass frames under the Luxottica brand, which proved successful enough that by 1971 he ended the contract manufacturing business.[7]
Convinced of the need for vertical integration, in 1974, he acquired Scarrone, a distribution company.[6] In 1981 the company set up its first international subsidiary, in Germany, the first in a rapid period of international expansion.[6] The first of many licensing deals with a designer was struck with Armani, in 1988.[8]
The company listed in New York in 1990,[9] and in Milan in December 2000,[10] joining the MIB-30 (now S&P/MIB) index in September 2003.[11] The listing raised money for the company and allowed it to use its shares to acquire other brands, starting with Italian brand Vogue in 1990, Persol and US Shoe Corporation (LensCrafters) in 1995, Ray-Ban in 1999 and Sunglass Hut, Inc. in 2001.[6] Luxottica later increased its presence in the retail sector by acquiring Sydney-based OPSM in 2003, Pearle Vision and Cole National in 2004.[12]
The company also acquired Oakley in a US$2.1 billion deal in November 2007,[13] and in August 2011 Erroca for €20 million.[14]
Luxottica's two main product offerings are sunglasses and prescription frames. The company operates in two sectors: manufacturing & wholesale distribution, and retail distribution.[15]
The house brands include:[16][17]
- Arnette
- Eye Safety Systems (ESS)
- K&L (formerly Killer Loop)
- Oakley
- Oliver Peoples
- Persol
- Ray-Ban
- Sferoflex
- Vogue
The company also creates eyewear under license for designer labels such as:[16][18]
The most recent deal was with Tory Burch. These brands are sold in the company's own shops, as well as to independent distributors such as department stores, duty-free shops, and opticians.
Luxottica Retail has more than 7,000 retail locations in the United States, South America, Canada, China, Australia, New Zealand, South Africa, Israel, the United Kingdom, and United Arab Emirates.[12] The headquarters of the retail division is in Mason, Ohio.[12] Their retail banners include:
- Sunglass Hut International
- LensCrafters
- Pearle Vision
- Pearle Opticians
- Sears Optical
- Target Optical
- Bright Eyes
- Budget Eyewear
- Cole Vision Care
- Optical Shop of Aspen
- Surfeyes
- Laubman & Pank
- Grand Optics LLC
Medical managed care[edit]
Luxottica also owns EyeMed Vision Care, a managed vision care organization in the United States.[21] As of 2012, it is the second largest vision benefits company in the United States.[22][23]
Recent criticism has come upon the high prices of Luxottica's luxury brand named glasses, such as Ray-Ban, Oakley, and several others. A 2012 60 Minutes segment focused on whether the company's extensive holdings in the industry were used to keep prices high. Luxottica owns not only a large portfolio of brands such as Ray-Ban and Oakley, but retailers like Sunglass Hut and Oliver Peoples, as well as the optical departments at Target and Sears. In addition, by owning the vision insurance company EyeMed, it controlled a portion of the buyers' side of the market as well.[23] CEO Guerra said that Luxottica did have competitors at the retail level in the American market, such as Walmart, Costco, and Warby Parker.[23]
Financial performance[edit]
Year | Net sales (K€) | Operative income (K€) | Net income (K€) - Net Income attributable to Luxottica Group Stockholders |
2011 | 6,222,483 | 807,140 | 452,343 |
2010 | 5,798,035 | 712,158 | 402,187 |
2009 | 5,094,318 | 571,085 | 299,122 |
2008 | 5,201,611 | 731,639 | 390,167 |
2007 | 4,966,054 | 833,264 | 489,850 |
data retrieved from Luxottica website
Transfer pricing issues[edit]
In December 2013, Luxottica Group paid €33 million to the Italian Agency of Revenue to settle transfer pricing issues that arose in 2007.[24]
The list of Luxottica shareholders with more than 2% of holdings, represented by voting shares at April 28, 2011.[25][26]
• Delfin S.a.r.l. 66.16%
• Giorgio Armani 4.85%
• Treasury Shares 1%
• Other shareholders < 2% 28%
In September 2012, Delfin S.a.r.l. reduced its share of Luxottica from 66% to 62.1%.[27]
- ^ a b c d e "Annual Report 2012". Luxottica. Retrieved 20 July 2012.
- ^ "Luxottica to Buy a U.S. Sunglasses Maker". in The New York Times June 21, 2007. 2007-06-21.
- ^ http://www.forbes.com/sites/deancrutchfield/2012/11/27/luxottica-sees-itself-as-king-raising-questions-about-brand-authenticity/
- ^ Brett Arends, "Are Designer Sunglasses Worth the Price?", Wall Street Journal, July 22, 2010.
- ^ "World's Billionaires Leonardo Del Vecchio". Forbes March, 2011.
- ^ a b c d e "Luxottica Past and Present". Luxottica Group S.p.A. Retrieved 2009-11-02.
- ^ "Santander research". Borsa Italiana 2003.
- ^ "The Armani Group and the Luxottica Group announce expiration of licence agreement". in Pambianco News November 21, 2002.
- ^ "Luxottica Group S.p.A.". NYSE, New York Stock Exchange.
- ^ "Luxottica". Borsa Italiana.
- ^ "Luxottica Group Added to MIB 30 Index". Syndication Teleborsa 22, 2003.
- ^ a b c "Luxottica Facts and Figures". Luxottica Group S.p.A. Retrieved 2011-08-10.
- ^ "Luxottica Group and Oakley complete merger". Syndication Teleborsa, 2007.
- ^ "Luxottica buys Erroca sunglasses chain for €20m". in Globes September 13, 2011.
- ^ "Luxottica S.p.A". Bloomberg Businessweek. Retrieved 2011-08-10.
- ^ a b "Luxottica Group S.p.A". in Reuters. Retrieved 2011-08-10.
- ^ "Luxottica House Brand". Luxottica Group S.p.A. Retrieved 2011-08-10.
- ^ "Luxottica License Brands". Luxottica Group S.p.A. Retrieved 2012-04-12.
- ^ "Armani Group and Luxottica sign exclusive license agreement" (Press release). Luxottica. June 8, 2012. Retrieved February 16, 2013.
- ^ "Versus". License Brands. Luxottica. Retrieved February 16, 2013.
- ^ "Our Position in the Industry". EyeMed Vision Care. Retrieved 2011-08-10.
- ^ "Activities: Managed Vision Care", Luxottica website
- ^ a b c "Sticker shock: Why are glasses so expensive?". 60 Minutes (CBS News). October 7, 2012. Retrieved October 19, 2012.
- ^ Turra, Alessandra (10 December 2013). "Luxottica Group to Settle Up With Italian Revenue Agency". WWD. Retrieved 10 December 2013.
- ^ "Major Shareholders", Luxottica website
- ^ "Luxottica". Borsa Italiana.
- ^ Mesco, Manuela, "Delfin cuts Luxottica stake to 62.1% from 66%", MarketWatch, Sept. 6, 2012
External links[edit]
- Companies listed on the Borsa Italiana
- Companies listed on the New York Stock Exchange
- Luxottica
- Eyewear retailers
- Clothing companies of Italy
- Italian brands
- Luxury brands
- Fashion accessory brands
- High fashion brands
- Warren County, Ohio
- Companies established in 1961
- 1961 establishments in Italy
- Companies based in Milan
- Multinational companies headquartered in Italy


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Artist: | Blink |
Title: | World Wide Flow |
Album: | American Dreams/African Principles |
Producer: | Mr. B New |
Avg Rating: |
With hip-hop's massive influence across the world, rappers' recognition of positive power for the spoken word seems to be minimal. However, Nigerian born emcee Blink uses his talents to speak on a subject that seems like second-nature to those of western culture; competition. Now residing in Chicago, Blink brings international sound to an internal … Read More


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During a Vatican conference on AIDS prevention organized by the Good Samaritan Foundation, which operates under the auspices of the Pontifical Council for Health Care, Cardinal Bertone said the Church "has been deeply committed to this task (of fighting AIDS) from the beginning, and the health care facilities that are in places where the populace is most affected are proof of this."
The conference is being held May 27 and 28 in Rome.
Cardinal Bertone said the "invisible capital" created by the Church consists of policies such as education in overcoming prejudices, encouragement in treating those who are HIV-positive with dignity and respect, and fostering awareness of the contribution "that they can and should make to the family and to society."
"Today, thanks to the experience acquired throughout the years, we understand even better the importance of these aspects not only for the sustaining of those persons who are affected, but also for the preventing of infection and for the effectiveness of treatment itself. This is a dimension that deserves to be broadened, and that is the framework for this conference," the cardinal said.
"The Church," he continued, "aware of all of this, confirms her own efforts in the double and indivisible dimension of the formation of consciences, and the largest offering possible of medical cures accessible to all and of advanced health care facilities, especially in places where the need is greatest."
"We strive to carry out this task with all our strength, together with many men and women of good will who are working throughout the world to achieve the same end," the cardinal said.
Cardinal Bertone: Church on the front lines in fight against AIDS
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Prior to joining Harcourts in December 2002, Jim had a wealth of management and real estate experience in his 16 years in the industry. Starting with six years as a sales consultant he went on to two years in management with a national real estate company and spent seven years as an owner of an independent real estate company. Jim is reponsible for the South Island offices.


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Posts Tagged 'Two Blondes and a Stove'
New Huntington eatery hosts ABC TV show
by John Callegari Published: September 13, 2012
Tags: ABC, Huntington, Long Island, situational reality TV, Two Blondes and a Stove, What Would You Do?
ABC filmed its show "What Would You Do?" at Two Blondes and a Stove all day Friday and Saturday last week. The episode will air in October.


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NewsAccused in pawn shop robbery kept in jail
Tuesday, July 10, 2012 - 12:49 PM A man accused of robbing a store in downtown Duncan on the weekend is being kept in jail. Ryan Gunold will remain in custody until July 17, when he's scheduled to have a bail hearing, according to the Duncan courthouse. Gunold, 30, has been charged with several offences, including robbery, wearing a mask with the intent to commit a crime and assault with a weapon. The RCMP said he went into Heritage Pawn Brokers on Whistler St. in Duncan on July 7, assaulted four people with bear spray, took some gold and diamond jewelry and fled in a BMW. He was caught later on Saturday, but on Monday, police were still waiting for a search warrant to retrieve stolen items from the vehicle. Similar StoriesMost Viewed Stories More Local
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Lawmakers press UN agency over tech shipments
Two lawmakers are angrily reacting to what they say is a lack of cooperation from a U.N. agency that may have sent computers and other technology to Iran and North Korea in possible violation of U.N. Security Council sanctions.
Tags: Illeana Ros-Lehtinen , Howard Berman , Cybersecurity , Cybersecurity Update , State , House Foreign Affairs Committee , Congress , Federal Drive
The Taliban facing more trouble
The Afghan Taliban leadership is facing more pressure from the U.S. The U.S. Treasury Department will freeze the militants' assets, ban travel and trigger an arms embargo. It follows similar action by the United Nations earlier this week, and comes after calls from Gen. David Petraeus, the top military commander in Afghanistan. the U.S. and U.N. sanctions prohibit any financial transactions of the terror leaders in U.N. member countries, putting additional pressure on Pakistan to take broader actions against the Taliban militants.
Tags: Pentagon & Beyond , Pentagon , Taliban , Afghanistan , Treasure Department , David Petraeus , J.J. Green