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I am a passionate supporter of a publicly-funded BBC. Along with the NHS, social care and the state education system, I regard it as one of the four vital pillars of public service on these islands - evidence that democracy works. If I ask questions, and challenge practice, it is because I want the BBC to survive and thrive at the centre of public life. It is a beacon of truths in a world of commercial interests. It provides a public space for debate that is vital for our democracy.
I was born in Northern Ireland, grew up in the industrial Midlands of England, and went to university in Scotland. For the last four years I have worked in Wales. I have lived in every nation of the United Kingdom.
The culture of any nation or region is an ecosystem, made up of a number of mutually dependent parts. As well as arts and cultural institutions, these also include the print and broadcast media, public and private funders, the education sector, the tourism industry and - last but not least - creative industries and individual professionals.
Also essential to all of this is the wider community, whose informed support and creative participation is the lifeblood of all cultural activity. A creative economy depends upon a creative society.
The nations and regions of the United Kingdom outside London - with the exception, arguably, of the central belt in Scotland - do not have all the elements that they need to ensure a thriving arts ecosystem.
Wales, for example, has very strong resources of talent and great national arts and cultural institutions. Through recent reports by Dai Smith on the role of the arts in education, and by Baroness Kay Andrews on the importance of cultural participation in overcoming barriers created by poverty, Wales has recognised the value of cultural education.
But, like much of the rest of the United Kingdom, we do not get our fair share of UK funding for our arts. Nor do we have the coverage from the UK media that its quality
deserves. This lack of recognition and publicity from the UK print and broadcasting media - with the credibility that comes with it - in turn makes it still harder for us to attract the private funding that we need so badly, to invest in our programmes and, for example, to provide match funding for Lottery bids.
Many of the key decisions that determine profile for the arts are made by publicly funded organisations based in London, such as the BBC and Visit Britain, which appear to have little knowledge or understanding of what is happening in the rest of the United Kingdom, and especially the devolved nations.
Funding of the arts, employment in the arts, public access to and participation in the arts, and control of the arts are also scandalously unequal. 71% of funding for the arts in the whole of the UK from trusts and foundations, corporate donors and private individuals goes to London institutions. The remaining 29% has to be shared out between all the other nations and regions.
We are in the second decade of the twenty first century, but we still retain the highly
centralised, nineteenth century, semi-colonial model that the arts should be concentrated in London, and that funding London is synonymous with serving the English regions and the nations of the UK. For Wales, Scotland and Northern Ireland this undermines the principle, embedded in law, that culture is a devolved responsibility. It is a constitutional tension that remains unresolved.
All the evidence shows that concentration of power and funding in London is, in policy terms, a failure. Despite investment of over £1 billion annually of public and private funds in arts institutions in just three boroughs in Central London (Westminster, Southwark and Kensington and Chelsea), public participation levels in the arts in London are slightly lower than those across England as a whole.
Within England, the Arts Lottery has operated as a highly effective mechanism to take money from poorer communities and invest it in arts provision in Central London. Just five national performing arts organisations in London have received more (£315 million) from the Arts Lottery since 1995 than the 33 English local authority areas with lowest participation, representing 6 million people, which between them were awarded just £288 million over that period. Arts Lottery players of County Durham have contributed £34 million since 1995, but the area has received just £12 million.
The policies and practices of the media can exacerbate these divisions. Within the last year, both Melvyn Bragg and Tony Garnett (director of Cathy Come Home) have accused broadcasters of misrepresenting and sneering at working class people in TV dramas and documentaries. Recent research by the Open Society Foundations suggests that this perception is shared by many working class viewers themselves.
There is a challenge in all of this for the BBC, our publicly-funded UK national broadcaster. As funding for the arts from diverse public sources remains concentrated in one small area of England's capital city, and (as research by the Sutton Trust has shown) those employed in senior positions in broadcasting are recruited increasingly from men and women with privileged backgrounds, and the narrow circle of private support shrinks ever closer to central London, will the BBC's coverage of the arts shrink with it? And can this coverage now truly be described as impartial?
Within Wales, there is a much greater sense that culture in the broadest definition is a communal resource and belongs to everyone. At Amgueddfa Cymru - National Museum Wales, 28% of visitors to our seven museums across South, West and North Wales are from social classes C2DE. At a typical London national museum such as the National Gallery the figure is around a third of this, at 10%.
The BBC is a hugely important part of the arts ecosystem in Wales. The BBC's investment in Roath Lock in Cardiff with its drama productions has given a massive boost to our creative economy, and has made Cardiff a hub for related creative industries. The BBC has also made Wales a centre for music programming. There is a wealth of artistic talent and arts production of an international standard in Wales, yet the BBC in Wales - unlike England and Scotland - does not have a Centre of Excellence in the arts. As a result coverage of the richness of artistic activity within Wales is very limited, and on Network BBC it is almost non-existent.
Why does the Tate's Turner Prize - widely perceived in the contemporary art world to be tired and outdated - continue to get blanket coverage on Network BBC, when the critically more highly regarded Artes Mundi Prize in Wales has never in 12 years had any Network coverage? Research by the BBC itself shows that this lack of impartiality in its coverage of the arts in the nations and regions of the UK is the norm rather than the exception.[1]
Even if it wins the vote on Scottish independence, Westminster has been revealed to have lost the hearts and minds of a substantial minority of its citizens in Scotland, the second largest nation in the United Kingdom. An article in the Guardian, published in early July, examined how the BBC was reporting on the referendum, and said that even a no vote should challenge the BBC 'to examine afresh how successfully it relates to constituent parts of the UK - and whether a more flexible, less monolithic notion of the future of the corporation ought to be embraced.'
Tony Hall, in a recent speech at the Pierhead Building in Cardiff, invited his audience to imagine Wales without the BBC. It is a fair challenge, but we existed long before the BBC with our languages and cultural identities. Some of us in Wales might ask him, in turn, to imagine a BBC that is not dominated by a London-centric perception of the world, and that better reflects the diversity of our nation's arts and cultures, our values and our debates. Without us - we who are outside London - not just the BBC but democracy itself will suffer, if we continue down the road we are on.
What are the solutions for the BBC? There should be a Centre of Excellence at BBC Wales, as there is in Scotland. We need devolved governance of the BBC in Wales through the BBC Trust, as recommended by the Silk Commission. This should be
underpinned by a separate extension to Charter agreement for Wales, and mechanisms to ensure fair representation of our arts on BBC Network. We need BBC Network to recognise that speakers of Welsh and other minority languages have a right to be heard in their own language on UK media. The BBC should monitor and publish annual data on its achievement of impartiality across the nations and regions. We need the Network BBC to be pro-active in overcoming a culture of inequality within the organisation.
And we need the BBC, with headquarters in London, to remember the importance of
geography, of the connections between culture and place. The nations and regions of the UK need the BBC to give us equality and parity of respect, and to free us to represent ourselves, in our own places and across the nations within the UK and abroad.
We want to commission London, not London (when it chooses) to commission us. Our nation's share of the BBC budget should be devlolved in full to Wales.
As Hugh McDiarmid said, "You cannot light a match on a crumbling wall."
Let's build a better and more solid one.
*This is a summary of a more detailed paper I wrote, which can be found here:
[1] Four Nations Impartiality Review Follow-up: An analysis of reporting devolution' – Cardiff School of Journalism, Media and Cultural Studies, Cardiff University – March 2010: http://cardiff.ac.uk/jomec/research/researchgroups/journalismstudies/fundedprojects/followupaccuracyandimpartiality.html
Transforming Futures
2 May 2014
,Exactly one month ago to today, Amgueddfa Cymru launched two publications which set out how museums and other arts and heritage organisations can help achieve the essential goal of equity of opportunity for all children to develop their talents. In this blog, David Anderson, Director General of Amgueddfa Cymru, shares his views about both publications and why this work is important.
A few years ago, I was involved in a project run jointly with a children's charity to offer creative design projects for children in care. Their work was exhibited in the galleries of a museum. One girl made a quilt that I still vividly remember. On it she had sewn the words, "Why does he get everything and I get nothing?". I never learnt the story behind the words on that quilt, and perhaps it was too personal to share.
The earliest evidence of a child in Wales is the teeth of a girl aged 9 years, one of a group of Neanderthal humans whose remains had been washed into a cave in Pontnewydd, along with the bones of hyenas and other wild animals of that period. They have been dated to around 240,000 BC. Before her early death, this girl would have learnt her culture - making tools, cooking food, hunting, gathering flowers and burying her dead - from her parents and others in the group.
In a series he wrote and presented for Ulster Television in 1987-8 Professor John Blacking, the ethno-musicologist, said, "Every individual as a baby has thought in movement before thinking in words". Creativity is a movement of the body, he said. We are moved into thinking. For him, culture exists only in performance - for children as well as adults.
Not so long ago, children in Wales worked in workshops, factories and mines. They have always been makers of culture as well as recipients. Even today, children across the world make their own toys. Children in Western Asia still make carpets. The collections of museums are full of beautiful things made by children.
The extraordinarily fine Ardebil Carpet, that so awed and inspired William Morris, is believed by many to have been produced by the hands of children. The hardships endured by working children - in the past and today across the world - tell us what skills and creativity children are capable of, even under conditions of privation.
True creative cultural participation for children is not - or at least should not - be an option. The Universal Declaration of Human Rights includes the right to participation in the cultural life of the community as one of the five fundamental rights. Who are we to deny that right to children?
In 1942, the Beveridge report identified squalor, ignorance, want, idleness and disease as five giant evils that Britain should slay, and the Post-War Labour Government set out to do this. But Beveridge should have added a sixth giant to his list: cultural exclusion. In our own time, Kay Andrews and Dai Smith have between them written a modern Beveridge report for the cultural lives of children in Wales.
Among their many key messages are that we should commit to provide:
(i) full ongoing creative participation - not just occasional access;
(ii) as a right - not just an option;
(iii) for every child - not just the few.
The cultural sector is Wales' second education sector. It compliments and enriches the school, college and higher education system. Each year, the seven museums of Amgueddfa Cymru alone serve approximately 250,000 schoolchildren and 750,000 children and adults in family groups. The creative, experiential learning that museums can offer has been shown time and again over the years to inspire children who, for the school system alone, are hard to reach.
Museums and other arts and heritage organisations have a vital role in inspiring, extending and developing each child's engagement with their cultural offer. But children's cultural lives are far wider than than can be found even in our national and local cultural institutions.
Every child has their own talents and potential. Is it bringing people together and making friends, identifying plants, writing a diary, caring for older people, dancing, diagnosing faults and repairing machines, bee-keeping, telling stories, taking photographs, designing electronic circuits, playing sport, to studying birds and animals, shaping metal, writing and performing music, exploring, making others laugh, seeing patterns others miss, testing water quality, sharing skills, carving in wood and stone, and a thousand other ways to make the world a better place? Any of these, and a mind that is always curious, critical and open to new ideas and experiences.
Some children want to become Billy Elliott and they should be supported in doing so . But most want to be something else.
The industrialist John Harvey-Jones said that everyone has talent; it is the job of the educator to help them to find it. And it is particularly the role of museums and other arts and cultural organisations to help children to find their talents in the sciences, arts and humanities, in a welcoming and social environment.
If we limit ourselves to telling children what we ourselves know, we do them, and future society, a great disservice. That would be not education but counter-education. Yet far too often - through a conservative and anti-intellectual mis-appropriation of our historic public purpose - it is counter-education that we offer.
These two publications on Transforming Futures set out these new agendas for museums and other arts and heritage organisations in achieving the essential goal of equity of opportunity for all children to develop their talents. Amgueddfa Cymru - National Museum Wales began work on them in 2012. But they very much compliment and support the recommendations of Kay Andrews' and Dai Smith's reports.
But whereas those reports were - quite rightly - principally concerned with national policy and infrastructure, the Transforming Futures publications are intended more to support cultural institutions on the ground. Among the recommendations of the Transforming Futures reports are proposals for:
(i) fundamental changes in the work of cultural institutions themselves
(ii) new research on effective practice by cultural organisations
(iii) a new code of ethics for cultural organisations with principles to guide our work.
Poverty and exclusion in Wales - and across the UK - is growing year by year. We have an ethical responsibility to respond.
It is our task to create something new: a National Cultural Service for Children. Like health, education, housing and every other universal service, children's cultural participation must be developed locally, if it is to be effective, but within a national framework.
We should not say we cannot afford it. When the Beveridge Report was completed in 1942, the then Chancellor of the Exchequer tried to prevent its publication, saying that it was unaffordable. Yet, a few years later, the post-War Attlee Government implemented the most radical programme of equality that Wales and the UK has ever seen.
But decade by decade, as the NHS has provided health services free at the point of delivery, and comprehensive schools have given every child free education, the giant of cultural exclusion has continued to stalk the nation unchallenged.
We can change this. So that no child should need to say, "Why does he get everything, and I get nothing?".
Happy Birthday Big Pit
24 September 2013
,Big Pit National Coal Museum celebrates 30 years as a major visitor attraction this year and we celebrated the occasion yesterday in the company of members of the local community who have supported the Museum, staff at Big Pit and the Minister for Culture & Sport John Griffiths who had a tour of the Museum.
Since opening in 1983 Big Pit has welcomed more than 3.5 million people who can go 300 feet underground to find out what life was like for men who worked there. In 1913, one in ten Welsh people were employed in the coal industry and many more were dependent on it for a living – by the end of the 20th century, only one deep mine remained in Wales.
Big Pit employed 1,300 people and produced around a quarter of a million tons of coal a year. The buildings are the same as they were when the mine closed in 1980, but now visitors descend the shaft with a real miner and see what life was like for the thousands of men who worked at the coal face.
The Museum is set in the unique Blaenafon industrial landscape, designated a World Heritage Site in 2000 and is an exciting and informative day out for visitors.
September has crept up on us already and autumn's well on its way!
It's been a successful summer across all of our sites, with nearly a quarter of a million visitors being welcomed over August alone across the seven museums. That's a great achievement and I hope our visitors have enjoyed their experience. We've got an exciting line up of exhibitions, events and activities now until Christmas across all seven museums including Peter Blake's exhibition of works inspired by Dylan Thomas's Under Milk Wood which will be on show at National Museum Cardiff from 23 November. The exhibition will launch a year-long festival in 2014 – Dylan Thomas 100 – which will mark the centenary of the birth of the poet Dylan Thomas.
Last week I was invited to Bologna in Italy to speak at a two-day final conference of the LEM project "The Learning Museum".
"The Learning Museum" is a network project funded by the Lifelong Learning Programme Grundtvig (2010-2013) which aims to establish a permanent network and web space for museums and adult educators to participate in a learning society and in a knowledge-based Europe.
Seventeen European countries and the United States of America are represented in LEM. Its aim is to create a network of museums and cultural heritage organizations, to ensure that museums play an active role with regard to lifelong learning, and to raise awareness among decision makers at national and European level.
The conference was intended as a meeting place to facilitate networking and develop further collaborations at European level and also an opportunity for participants to discuss the outcomes of the project and share the knowledge developed throughout the three years of its duration, as well as giving a chance to share experiences and exchange ideas with colleagues from all over Europe.
Some interesting ideas emerged. It was striking how many of these involved greater cooperation and consolidation in the face of the financial crisis common to almost all European countries. In the Netherlands, for example, there are two museums associations which will now merge. Central, regional and local government are being encouraged by the sector to coordinate their museum policies. Speakers from the Netherlands said that development of a vision for each museum, before governments decided on them, was essential.
To find out more about the LEM project and the LEM reports go to
Summer Season
14 August 2013
,Summer holidays means it's a really busy time for our sites and there's so much going on at all our museums – something for the whole family so if you've visiting one of our seven museums, I do hope you all enjoy a great experience over the next few weeks.
I spent last week up in north Wales and visited the National Eisteddfod in Denbigh for a few days. Amgueddfa Cymru has a stand at the Eisteddfod every year and it's a great to engage with people and tell them what our sites have to offer. There was a different theme every day of the week and when I was there on Monday the focus was Neanderthal Wales. The connection is that the Pontnewydd and Elwy Valley Caves are in Denbighshire and were the focus of museum excavations years ago. Then on Tuesday we celebrated the artist John Piper and explorer Charles Darwin both of whom were very inspired by Dyffryn Clwyd. It was good to enjoy the cultural festival, meet new people and see some of our heritage partners.
Whilst I was up in north Wales, I also had a chance to visit our National Slate Museum in Llanberis in Snowdonia where I joined Dafydd Roberts and the team there in welcoming Baroness Kay Andrews. Baroness Andrews, who grew up in Tredegar, has just stepped down as Chair of English Heritage, and has now been commissioned by the Welsh Government to write a report by January 2014 on how the cultural sector in Wales can work together more effectively to address poverty.
At Llanberis currently there's a new exhibition which showcases the life's work of artist Falcon Hildred, documenting the industrial landscapes and buildings of England and Wales. The exhibition, a partnership between the Royal Commission on the Ancient and Historical Monuments of Wales and the Ironbridge Gorge Museum Trust Limited, has been funded by the Heritage Lottery Fund.
I also went over to Wrexham for the opening of the exhibition of the Mold Gold Cape at Wrexham Museum. They certainly know their Bronze Age artefacts in the area and they've done a spectacular job of the exhibition. It's well worth going to see if you're in the area.
After a busy week which really tired me out, I have been relaxing by watching Ken Loach's film, The Spirit of '45. Perhaps relaxing is the wrong word to use in response to a powerfully argued and moving tribute to the achievements of the Attlee government, and footage of the slum conditions of pre-War Britain that shows why such changes were so necessary.
The famous Mold Gold Cape comes to Wales
5 July 2013
,I'm delighted that one of Europe's most important Bronze Age finds has arrived at National Museum Cardiff this week! The display of the Mold Gold Cape, on loan from the British Museum, was officially opened in a special event on Wednesday by the Minister for Culture & Sports, John Griffiths.
A highlight exhibit at the British Museum, the ceremonial gold cape, found in north Wales, was made around 3,700 years ago during the Early Bronze Age. It's one of the finest examples of prehistoric sheet and embossed-gold working in Europe. It's craftsmanship and materials reveal the wealth and significance of north east Wales at this time.
The cape was discovered by workmen near Mold in 1833, many years before the establishment of Amgueddfa Cymru - National Museum Wales. Having the Mold Gold Cape return to Wales from the British Museum offers a wonderful opportunity for local people and visitors to enjoy and find out more about their heritage and the early past.
The ancient artefact is in Cardiff until 4 August and then goes to Wrexham Museum from 7 August -14 September, as part of Spotlight Tours, a programme of loans organised through the British Museums' Partnership UK Scheme.
Working in partnership with other museums enables precious artefacts of Welsh origin like this to be more accessible to the people of Wales. The Mold Cape contributes significantly to our understanding of cultural expression and power relations in Early Bronze Age Europe, reflected both in life and in death.
There are activities and events related to the Mold Cape here all month so if you're in the Cardiff area, or in Wrexham next month, why not come and have a look at this unique artefact?


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Wildfires Renew Call for Fire Lookout Towers
UPDATED 12:58 PM HST Sep 05, 2013The western wildfires have led to a renewed call for staffing of fire lookout towers nationwide, especially in wildfire prone areas. Thousands of fire towers have been torn down or taken out of service over the past 30 years. Sally Kidd reports from Washington.
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Definition | Reasons for Procedure | Possible Complications | What to Expect | Call Your Doctor
This is surgery to remove a severely diseased and failing heart. It is replaced with a healthy heart from a deceased donor.
Copyright © Nucleus Medical Media, Inc.
A heart transplant is done if you have:
If you are planning to have a heart transplant, your doctor will review a list of possible complications, which may include:
More than 80% of heart transplant patients live for at least one year after surgery. Most return to normal activities, including work and exercise.
People over 60 years old are at increased risk of complications. Some factors that may increase the risk of complications include:
Be sure to discuss these risks with your doctor before the procedure.
There is a shortage of donors, so you may be on a transplant list for some time. You may need to carry a cell phone with you at all times. This is to allow the transplant team to reach you if a donor heart becomes available.
You may need to stay in the hospital for monitoring. You may need to be on continuous IV medications to help stabilize the function of your diseased heart. Some may need to have a mechanical pump called a ventricular assist device (VAD). The device will help to stabilize your heart while you are waiting for a transplant.
Before the procedure:
Before the surgery, your doctor will likely do the following:
General anesthesia will be used. It will block pain and keep you asleep through the surgery. It is given through an IV.
After you are asleep, the doctor will cut through the skin and breastbone. The chest will be opened and you will be connected to a heart-lung machine. This machine takes over the functions of the heart and lungs during surgery. Your heart will be removed. The donor heart will be prepared and sewn into place in your chest. Next, the blood vessels will be connected. After this, the blood will start to flow and warm the heart.
The new heart may begin beating on its own, or you may be given an electrical shock to get your heart started. For safety, you will also have a temporary pacemaker attached to the heart to help the heart beat stay regular. After the doctor is sure that the heart is beating fine, the blood will be rewarmed. The heart-lung machine will be disconnected. Next, temporary tubes may be placed in the chest cavity to drain any blood that has collected. The chest will be closed with stainless steel wires. Lastly, the skin will be closed with absorbable sutures.
You will be closely monitored in the intensive care unit (ICU) with the help of some/all of the following:
You will also have your vital signs monitored.
8 hours
You will have pain during the recovery process. You will be given pain medication.
This procedure is done in a hospital setting. The usual length of stay is at least two weeks. Your may need to stay longer if you shows signs of rejecting the new heart or have other problems.
While you are recovering at the hospital, you will need to:
Your doctor may need to take a biopsy of your heart routinely and additionally as needed if you:
When you return home, do the following to help ensure a smooth recovery:
After you leave the hospital, contact your doctor if any of the following occur:
In case of an emergency,


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Queen's University Belfast welcomes students from Chile and from all over the world. We have 17,000 students from over 80 countries, 3,500 staff and 100,000 graduates worldwide. We're one of the UK's leading universities with a heritage dating back over 150 years.
We accept a wide variety of qualifications. Below you will find information on undergraduate and postgraduate entry requirements, English Language requirements, potential scholarships for international applicants and details of our overseas agents and representatives.
Click titles below to expand each section
Applicants with the following qualifications may be considered for direct entry to Queen's University Belfast's undergraduate Bachelor degree programmes:
Please note that the grades required vary depending on the programme of study. Further guidance on the entry requirements for each degree programme can be found in the Undergraduate Coursefinder.
Entry to graduate diploma or taught Masters programmes usually requires either a UK upper second-class (2:1) or a lower second-class (2:2) undergraduate degree. For most courses, your major subject or content of your Bachelor degree may also be considered. Please check the Postgraduate Course Finder for exact entry requirements.
The comparable qualifications from Chile are as follows:
UK Upper Second-Class Honours (2:1)
Grado de Licenciado/Título (Profesional) (Bachelor degree standard) - CGPA of 5.0 on a 1-7 scale.
UK Lower Second-Class Honours (2:2)
Grado de Licenciado/Título (Profesional) (Bachelor degree standard) - CGPA of 4.8 on a 1-7 scale.
Queen's University Admissions Office staff have expertise on a wide range of qualifications from around the world and will be able to assess your application's comparability to the UK entry requirement. Please ensure you upload copies of all official transcripts and final award certificates for programmes already completed and those currently being completed.
If you are interested in postgraduate Computing, Finance or Management courses, but do not meet the entry requirements, you may wish to consider a pre-masters Graduate Diploma offered by INTO Queen's.
Students interested in undertaking a PhD at Queen's University need good grades in their Bachelor's and Master's programmes awarded by a recognised university, in addition to a strong research proposal.
Applicants will normally need to demonstrate a level of English equivalent to 6.5 IELTS or 90 TOEFL IBT (Internet based test). However, some degree programmes have higher or lower requirements (please check individual programme requirements in the relevant undergraduate or postgraduate University Coursefinder. View the full list of acceptable English Language qualifications.
INTO Queen's University Belfast offers a wide range of English Language courses, which may assist students to meet the required standard of English language to be eligible for entry to degree programmes at the University. If you wish to apply for an English course please contact firstname.lastname@example.com or consult the list of INTO Queen's English Language courses.
Queen's University Belfast offers a range of scholarships for international students.
A list of other potential sources of funding for Postgraduate study can be found on the University's Postgraduate Office website.
Queen's has a network of agents and representatives committed to providing you with high levels of support. More information on our network and a list of agents by country can be found on the University's agent webpages.
The British Council in your country can also offer advice on studying in the UK.
For details on the application process for both undergraduates and postgraduates, please visit the University's How to Apply section.
INTO Queen's University Belfast is a partnership with Queen's University which offers academic courses and English language programmes designed specifically for international students. The courses help prepare students for entry to university in the UK and acclimatise students to living and studying in a university environment.
INTO Queen's academic programmes include:
INTO Queen's English Language courses include:


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A new definition of black Irish. Beautiful.
Eerily similar to this shirt.
Love! But, I am a chick...
I love the contrast between artistic styles to illustrate good vs. bad luck charms! Excellent work!
Awww, congrats Diana. Your cats are fantastic.
I like the clever use of the clovers as a border. Well done Dianasprinkle.
As a black cat owner who's cat was born on St paddy's day, great shirt!
As someone who had vowed to take a break from Woot! purchases after the just-over Woot-off, I am hereby eating my words. Yum, yum. This is awfully close to The Perfect Shirt.
Woooo, yay! I'm so excited! I was really expecting a different shirt to be be here instead of my kitty. But no its my bad luck good luck kitty. YAY! I'm so happy, thanks so much voters.
I'm British, when I was a kid black cats were regarded as good luck. Good luck cards often had black cats and clovers on them. So to me, they're always lucky. Beautiful shirt by the way! In for one, especially since a. black cats are my favourite animal, and b. I was born on St Patrick's Day. Edited to add; I am not, in fact, bunnymasseuse's cat. Now get in the kitchen and open a can.
I really like this one, Diana. I think my only beef with it would be the tail, but I love the way the clover seem to pop out at you.
Congrats on 1st place DianaSprinkle! And yay to black cats being GOOD luck. Because black cats are awesome!:D
Classy and well illustrated. Great job.
tomcall wrote:Eerily similar to this shirt.
Sure, in the same way that Cheez Whiz and french brie are basically the same thing too maybe.
JadenKale wrote:I really like this one, Diana. I think my only beef with it would be the tail, but I love the way the clover seem to pop out at you.
I kinda like the super long tail, it's mysterious.
Woo hoo! Congrats! Such a nicely done design...
Yes, except not at all.
I, too, swore off shirt buying. I just bought a green t-shirt today at another place (local), so what do I need another shirt for? Cause it's beautiful & I voted for it & I must own it. Then I went over to kickstarter & contributed so I can now own her book. Can't have enough cats.
Congratulations, DianaSprinkle! This is very well done and reminds me of the Chat Noir ads of which I am very fond.
I wear my Lucky At Last shirt at least once a week. This is like the grown up version! Insta-buy. PS Dear Artists, thanks for putting your designs on green shirts. I look super hot in green.
I love this design. I voted for it and I'm happy to see it in first place. But it doesn't work for me as a shirt. If this ever prints on a poster I'm so buying.
DianaSprinkle wrote:Woooo, yay! I'm so excited! I was really expecting a different shirt to be be here instead of my kitty. But no its my bad luck good luck kitty. YAY! I'm so happy, thanks so much voters.
This is awesome! Congratulations Diana! :3
Congrats Diana! Glad to see you in the #1 spot, love the design (and the tail)!
Must.. buy.. for.. wife.. Anything with cats makes my wife happy! Keep them coming!
and the cheezeburger goes to... Diana Sprinkle! bought it cause of the cat (i don't mind the tail being to long, it's art nouveau after all) and the colours.
Invisiblemoose wrote:Too bad it's an Anvil, I'd have liked to buy this one... Though that looks more like a rat tail than a cat tail.
Heh heh, your right maybe I took the tail too far. Though depending on the cat, they can have some pretty thin pointy tails... Siamese cats are pretty good examples for this in the extreme. For some reason I tend to think of regal looking cats with these type of tails. I probably went too long with the tail but I wanted a little curly exaggerated art nouveau bit on the cat too.
This is one of those shirts your closet is incomplete without. Amazing!
The link shows the shirt from yesterday! I tried it with the FB share button and copy and paste. [THUNDERTHIGHS: Refresh the page and try it now.]
"tomcall wrote: Eerily similar to this shirt." Yeah a little but I appreciate the design more this time around, I'm not really a fan of that chibi-cute look.
What an interesting design. Very compelling!
So sad that this is on an Anvil blank. It would have been an insta-buy for me if it was on AA.
Yes! I had so hoped that this would win. It is a great design for the theme. Congrats!
bluetuba wrote:I kinda like the super long tail, it's mysterious.
I love the tail, the cat is beautiful, and I love 4 leaf clovers! With this shirt, my kids can't pinch me on St Patty's Day . Lifelike cats always look the best! Kittens and cats of all kinds (even in the wild) are my favorite animals! Great job!
Diana, this is frameable! Congrats on getting your gorgeous artwork printed.
Diana Sprinkle …WINNER! CONGRATS! I love it. Cats are my favorite and I love 4leaf clovers. Very well done! Keep 'em coming. I want more in my closet. I've always been a cat lover! I'm superstitious and I lost my black kitten to a speeding car The clovers are a super addition! I've had cats all my life...my favorite animal, leopards, cheetahs, all wild ones too. They're all beautiful! Do you have more...a website maybe, or can I find some on here? Thank you!! Love your work!
kkayetx wrote:Diana Sprinkle …WINNER! CONGRATS! I love it. Cats are my favorite and I love 4leaf clovers. Very well done! Keep 'em coming. I want more in my closet. I've always been a cat lover! I'm superstitious and I lost my black kitten to a speeding car The clovers are a super addition! I've had cats all my life...my favorite animal, leopards, cheetahs, all wild ones too. They're all beautiful! Do you have more...a website maybe, or can I find some on here? Thank you!! Love your work!
Awww thanks so much, you can find a lot of my work on these three sites. http://www.dianasprinkle.com/ http://www.ghostcircles.com/dxs/ http://amegoddess.deviantart.com/ I think GhostCircles goes back the furthest. =D You can look at most of my woot derby shirts over here: http://shirtwhat.com/archive_a.php?artist=DianaSprinkle I also have some comics on this site: http://www.webcomicsnation.com/gc/
Very lovely! The cat reminds me of my old cat Teeger. While it seems similar to the other black cat in clover, this design definitely holds its own! It would make a nice piece of jewelry such as a cloisonne pin!
So happy this won. It is shirts like this that will make me buy the new Anvil shirts. Great design as always. Thank you! I have my black cat, Lovey, as well and she is the kindest most loyal girl ever. She greets me when I get home and purrs everyday. I can't believe after the rough start she had (abandoned in a foreclosed home and almost starved) that she is as nice and gentle as she is. I will always think of her as good luck.
cleverett wrote:Yes, except not at all.
Entirely, unless of course you are blinded by yet another cat shirt.
View All →


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• Single-strand cord necklace; bronze mesh plated with rose gold
• Sterling silver filigreed endcaps, polished lobster claw clasp and rope textured extender chain
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Nice! Right on the heels of the Windows vs. Linux comparison. Glad to find out Intel is aware of the performance deficiencies and are working to correct them.
Phoronix: Intel Aims To Hit On Performance, Plans LLVM Compiler
Eric Anholt of Intel's Open-Source Technology Center had a few things to say yesterday at the 2012 GStreamer Conference about their open-source Linux graphics driver stack. Intel is aiming to hit hard on performance improvements and one of the interesting statements made is that they're now looking at moving to an LLVM-based shader compiler for a big performance win. Left 4 Dead 2 running on Mesa was also shown...
Nice! Right on the heels of the Windows vs. Linux comparison. Glad to find out Intel is aware of the performance deficiencies and are working to correct them.
Out of curiosity.
Will this jump to LLVM help G3D in any way??
Someone expert can please explain me in simple words what a shader compiler and IR are, and why LLVM is an improvement in speed?
hope i am right
There's not a video of that presentation available somewhere, is there? I'd love to actually watch it.
OpenGL programs perform all kinds of operations with GLSL programs these days. These programs are compiled by a shader compiler, which translates and optimizes the GLSL code into a form that the GPU can efficiently execute.
IR means "intermediate representation" and is (in a few different forms) what the shader program is translated into inside the compiler. It's a form that allows the compiler to more easily transform and optimize it, before finally emitting assembly code for the GPU.
LLVM should provide a good improvement in performance because our current compiler is lacking a lot of useful optimizations (and a lot of the infrastructure needed to implement them well!). LLVM provides both a good infrastructure and many of these needed optimization passes.
Graphical applications running on modern GPUs make use of shaders, small programs which are executed on every vertex ("vertex shaders"), on every pixel ("fragment or pixel shaders") etc...
The shader programs typically run on specialized GPU hardware, basically a number of small processors capable of running many copies of the same program in parallel on different data (eg different vertices or different fragments). That model is usually referred to as SIMD (single instruction, multiple data).
The shader programs may be written as part of the application program, or may be generated by the driver stack in order to emulate older fixed function graphics hardware on a modern shader-based GPU. Since different GPUs have different hardware instruction sets for the SIMD processors, shader programs are written in a portable high level language (typically GLSL for OpenGL, HLSL for DX) and JIT-compiled down to GPU-specific hardware instructions at runtime.
In principle each driver could include a big compiler stack that goes directly from GLSL to hardware instructions. In practice, the most common approach is to split the compiler code into two parts -- one going from the high level language (eg GLSL) to an intermediate representation (IR), and another going from IR to hardware instructions. This approach significantly reduces the amount of GPU-specific code.
The first part of the compiler stack in mesa is generally referred to as the GLSL compiler these days, while the second part is referred to as a shader compiler. Strictly speaking you could call the whole stack the shader compiler (since it compiles shaders written in GLSL down to hardware instructions).
In principle existing compiler frameworks can't do anything that could not also be done in a purpose-written shader compiler, but in practice writing a good optimizing shader compiler is a *lot* of work. Developers are hoping that using LLVM will let them produce a shader compiler which generates better performing code than spending a similar amount of time working on a custom shader compiler, which seems reasonable.
thanks to both of you.
now the picture is clearer.
Speaking of threading, my recollection was that Marek added a degree of multithreading to the r300g driver (using a helper thread to perform the command submission calls into drm) a year or two ago and I thought he made the same change to r600g as well. I had been under the impression that the other mesa drivers did something similar.


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Instead of recycling or throwing away your 2 liter soda bottles, save them for a decorative crochet project. Decorating your home for the holidays is easy with these festive "Holiday Bottle Toppers". The Holiday Bottle Toppers 1 Pattern set includes instructions for all the designs shown. You will have fun making your favorite holiday designs that include Jolly Santa, Mrs. Claus and Elf for the Christmas season. Easter is not left out with the bright and cheery Bunny Family. The winter season needs the Snowman Bottle Topper to bring some wintry fun inside. All these fun figures are perfect for placing on a mantle or as a table centerpiece. Why not add some whimsical decorations to bring a smile to your face during these seasons.
The Holiday Bottle Toppers 1 Patterns use basic yarn colors that you might already have in your stash. The clothing and embellishments on the figures use a variety of colors that you can match to the pattern instructions or change to fit the yarn you have on hand. There are no rules when it comes to the color of yarn used with these fun bottle topper designs. The 2-liter bottle is the base for the figures and gives them shape so they stand upright when set on a solid surface. Why throw your plastic bottles away when you can re-purpose them into a decorative household crochet item. Recycling and re-purposing 2-liter bottles is good for the environment and gives you the base for making some new crochet projects to decorate your home for winter, Christmas or Easter.
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Los Angeles Lakers center Dwight Howard's shoulder injury kept him from playing in Brooklyn's Barclays Center. / Mark J. Rebilas-USA TODAY Sports
NEW YORK - There was a time when Brooklyn Nets employees and fans alike envisioned Dwight Howard making his Barclays Center debut in a black-and-white uniform, but that now seems like a distant memory.
Because of Howard's shoulder injury, Nets fans didn't even get to see him in Gold and Purple on Tuesday. The injury cost him his third consecutive game and likely his only chance to play at Barclays Center this season.
Howard's Los Angeles Lakers won 92-83, though new starting center Pau Gasol went down with a foot injury. He will have an MRI exam Wednesday in Boston.
Howard didn't say much at Tuesday's shootaround. He hoped for another win, but when asked if he could play with the injury, the soon-to-be free agent said, "This is my career."
"I have no idea," Lakers coach Mike D'Antoni said Tuesday when asked if Howard would return by the end of the road trip. "I would think, but I do not know. It just depends on how bad, when the pain goes away."
Both teams obviously wanted Howard before the season started, but if you expected either the Lakers or Nets to lament over his absence on Tuesday, you haven't been paying attention.
In the months since the Nets' failed second attempt to acquire Howard (they had also tried and failed at last year's trade deadline), Brook Lopez has turned into one of the top players at the position. He currently leads all centers in scoring at just less than 19 points per game and was recently selected to his first All-Star game.
As point guard Deron Williams said on Sunday, missing out on Howard is not a "woulda, coulda, shoulda scenario."
Meanwhile, the Lakers - who acquired Howard from the Orlando Magic in the offseason - won five of six heading into Tuesday (the final two of which were without Howard) as the offense seemed to take on a new, unselfish identity.
"You play the same way," D'Antoni said. "We just want to try and keep (opponents) out of the lane a little bit better because we don't have that guy at the rim to clog it up."
In truth, the Lakers offense began to morph into something new in late January, but Howard's absence hasn't done anything to slow down that transitio. If anything, having Pau Gasol starting at center has allowed Kobe Bryant to be more of a facilitator because the 7-footer possesses is a different player than the one-dimensional Howard.
"He's very versatile," shooting guard Jodie Meeks told USA TODAY Sports about Gasol. "He's a great passer. He's a great player who's playing well."
Gasol scored 45 points on 18 of 33 shooting in the first two games Howard missed.
Bryant is averaging 9.4 assists in his past five games and the offense accumulated 209 combined points in road wins vs. the Detroit Pistons and Minnesota Timberwolves.
"It's just our ball movement has been better and Kobe kind of led that from about six games ago or seven," D'Antoni said. "Everybody kind of picked up on that and from there our defensive energy kind of picked up."
And while Meeks admitted that the Lakers miss Howard's passing in the post, he said he hasn't noticed any tangible effect in the spacing of D'Antoni's offense. In other words, Gasol's presence hasn't forced defenses to react any differently.
"I think we have so many great players on this team, there's spacing anyway," Meeks said.
Alex Raskin writes for HoopsWorld.com.
Copyright 2015
Read the original story: Dwight Howard on playing hurt: 'This is my career'


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Soon your little kiddo will be able to walk the walk and talk the talk of an enthusiastic Jaguars fan, so start them off right with the My New First creeper by Reebok! It displays a bold team logo surrounded by team-colored lettering printed on the front for an in-your-face look that'll get their tiny bones growing with competitive team pride. Jacksonville — it does the body good!
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A collection of short Photoshop and Illustrator projects and creative effects from computer graphics guru Deke McClelland.
Learn how to create an eye-catching logo and adapt it to fit a variety of device-independent applications, from business cards to banner ads, using Illustrator and Photoshop.
Learn how to make your underwater photographs sharper, more colorful, and more compelling with the photo editing and enhancement tools in Photoshop.
Get a thorough introduction to InDesign. Learn how to assemble text and images into multipage documents that can be published in print, on the web, and in many other electronic formats, with this industry-standard page-layout program.
Learn about the new features added to Photoshop CC. New chapters released for every major update!
Master Illustrator's advanced tools and hidden powers, including symbols, gradient meshes, opacity masks, and 3D effects.
Deke McClelland shares step-by-step tutorials and expert-level insights on the most powerful features in Photoshop CC, from HDR imaging and video editing to animation and automated actions.
A project-based learning approach to the advanced features in Illustrator CC, including Recolor Artwork, transparency, masks, blend modes, strokes and fills, and dynamic effects.
Introduces the basic features of Illustrator CC: sizing and arranging artboards; accessing panels, menus, and tools; and creating your first illustrations with line art, shapes, and type.
Follow industry pro Deke McClelland as he plunges into the inner workings of Photoshop, from Smart Objects to smart selections.
Build on your basic knowledge and achieve next-level effects in Photoshop CC.
A personalized tour of the basic tools and techniques that lie behind great images and graphic design in Photoshop CC, in an update to the flagship series.
Learn what it takes to design your own mind-bending illusion with Illustrator and Photoshop.
Learn to create a silver-age superhero.
Learn the basics of Photoshop's 3D capabilities with Deke. Discover how to build simple 3D objects, add materials and lighting to your scene, and even create 3D type.
Learn to create a cartoon online avatar of yourself with Illustrator.
Draw better, faster, and easier with the new tools in Illustrator CC.
Learn how to use Photoshop for everyday, frequently needed photo-editing tasks with no prior experience needed.
Learn to create custom gradient dot patterns with Illustrator.
Introduces the latest and greatest features in the ever-evolving Photoshop CC.
Quickly learn how to use Adobe Illustrator to create digital illustrations with no experience required.
Quickly learn how to use Photoshop for everyday design tasks—combining text and artwork, replacing backgrounds, and more.
Learn how to take advantage of the next level of dynamic features in Adobe Illustrator CC.
Become more efficient, exact, and creative with the advanced tools like pattern brushes, Gradient Mesh, and opacity masks in Illustrator.
Deke McClelland puts his own spin on the most powerful features in Photoshop, from HDR imaging and video editing to animation and automated actions.
Deke McClelland offers a comprehensive sneak peek at the new features in Photoshop CS6.
The third course in Deke McClelland's Illustrator CS6 One-on-One series, which takes a project-based learning approach to the key features in Adobe Illustrator, including Recolor Artwork, transparency, masks, blend modes, strokes and fills, and dynamic effects.
Discover how to take advantage of the next level of dynamic features in Illustrator CS6, such as patterns, complex gradients, and the Pathfinder operations, in the second installment of Deke McClelland's Illustrator CS6 One-on-One series.
Follow industry pro Deke McClelland as he plunges into the workings of Photoshop, from Smart Objects and sharpening to smart selections.
Industry pro Deke McClelland teaches you how to build on your basic knowledge and achieve next-level effects in the premiere image-editing program from Adobe, Photoshop CS6.
The first in a four-part series by industry-pro Deke McClelland on creating elegant, optimized graphics with the tools in Illustrator CS6.
Covers the image editing process from the very beginning and progresses through the concepts and techniques that every photographer or graphic designer should know.
Shows how to select hair—down to the individual strands—and composite portraits against new backgrounds.
Explores blending options in Photoshop and shows how to use them to create sophisticated effects and seamless compositions.
Shows how to make selections, refine the selections with masks, and then combine them in new ways.
Shows how to design a variety of vibrant 3D type effects in Photoshop Extended.
Shows how to create stunning imagery in Photoshop in the shortest time possible.
Shows how to create eye-catching designs and graphic art in Photoshop, in the shortest time possible.
Shows how to create professional-quality illustrations for print and electronic output, in the shortest time possible.
Shows how to design polished multi-page documents for print and electronic output, in the shortest time possible.
Shows how to build, illuminate, and render realistic 3D scenes in Photoshop CS5 Extended.
Previews three new iPad apps that interface directly with Photoshop CS5.
Drawing six kinds of objects and manipulating them in 3D space.
Create textured type and drawing objects that can be manipulated in 3D space in Photoshop.
Shows how to take advantage of the wide array of dynamic effects in Illustrator CS5.
Take advantage of the wide array of dynamic features in Illustrator CS5.
Demonstrates the most powerful and empowering features of Photoshop CS5.
Dives into the advanced workings of Photoshop CS5.
An exploration of Adobe's vector graphics program.
Explores such indispensable Photoshop features as resolution, cropping, color correction, retouching, and layers.
"It is like taking college classes without leaving home. Great for total beginners and long-time veterans." —Trevor C.
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We played Argentina it started at 2:30. Mostly unimpresive besides the blistering start.
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We played Argentina it started at 2:30. Mostly unimpresive besides the blistering start.
"I don't know if people know I dislocated my pinkie finger. And [Tyreke] told me, 'You wanna go home or you wanna be here?' I want to be here. And he said, 'All right, then go tape it up and let's play. Let's go. We not stoppin' at no stores. Straight gas. That's what we do, just keep going.'"
If Argentina had an ounce of athleticism, they win 10+. I can hardly watch this US team...hopefully it changes for games that "matter."
They don't drive unless they have to. I don't think they fully understand how to attack a zone.
They're not running plays either. I have to think that they aren't showing their cards just Yet.
There's not much screening action going on either. Pick and rolls some, but opposing teams crash in on the roller leaving the corners open. We push the ball to the corners and settle.
Is the game over? And did Davis play at all?
"Every fight is a food fight when you're a cannibal."- Demetri Martin
A joke right? They do have athletisicm, and they never gave up. However, team USA has more athleticism and the basketball iq to go with it. This was an exhibition where neither team was going to show much. Honestly never felt like the was in doubt. Even when it got close, LeBron or Durant would do something to make it seem as if they were just toying with a very scrappy Argentina team.
Um, apparently since Gravy was 5 years old back then, he doesn't know how much the competition has improved since then.Greivis Vasquez @greivisvasquez
By the way, The Dream team had a little trouble beating Argentina! The Gold generation is going to be tough to beat in London!!
My Anthony Davis website: http://thebrow.uphero.com/
Sometimes I forget how money makes for some really stupid ideas. If he's even entertaining that idea then it should apply to all nba players.
11 out of 12 of those players are in the Hall of Fame. 20 years from now, will you be able to say the same for this year's team?USA (Gold)
Charles Barkley
Larry Bird
Clyde Drexler
Patrick Ewing
Magic Johnson
Michael Jordan
Christian Laettner
Karl Malone
Chris Mullin
Scottie Pippen
David Robinson
John Stockton
Off the bat, I'd say Lebron and Kobe are 100% surefire first ballet HOFs, while Paul, Williams, and Anthony are right behind. Durant will be a HOF barring any major injuries, and the jury is still out on Chandler, Love, Iguodala and the rest of the group. All of them have the potential, they're just too young to tell right now.G Chris Paul
G Deron Williams
G Russell Westbrook
G Kobe Bryant
G James Harden
F LeBron James
F Andre Iguodala
F Kevin Durant
F Carmelo Anthony
F Anthony Davis
F Kevin Love
C Tyson Chandler
Potentially, every single one of these players could be a HOF, but it's not likely.
the weakness of team usa is size. on our roster we have one true center in chandler. dont get why howard or bynum wouldnt play for us.
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Tickets for Deftones' North American tour dates this coming March are now on-sale, HERE. All tickets will be honored for the re-scheduled dates at New York's Terminal 5 (currently sold out) and Boston's House of Blues, and if needed, refunds are available at the point of purchase. Full tour dates below:
3/4 Rochester, NY Main Street Armory
3/5 Boston, MA House of Blues
3/6 Huntington, NY Paramount Theatre
3/8 Atlantic City, NJ House of Blues
3/9 New York, NY Terminal 5 SOLD OUT
3/10 Montclair, NJ Wellmont Theatre
3/12 Stroudsburg, PA The Sherman Theatre
3/13 Norfolk, VA The Norva
3/16 Myrtle Beach, SC House of Blues
3/17 Atlanta, GA The Tabernacle
3/19 Miami, FL Fillmore Miami Beach
3/21 St. Petersburg, FL Jannus Live!
3/22 Orlando, FL Hard Rock Live
3/23 Mobile, AL Soul Kitchen
3/25 Baton Rouge, LA The Varsity Theatre
3/26 Corpus Christi, TX Concrete Street Amphitheater
3/27 Pharr, TX Pharr Entertainment Center
3/29 Austin, TX Austin City Limits Live at Moody Theater
3/30 Houston, TX Bayou Music Center


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10/19/13 This inaugural conference for survivors and caregivers will be inspirational and informative. Lunch will be served and participants will have the choice of two workshops designed to address your unique needs.
Saturday, October 19, 2013 12:00 PM - 4:00 PM
BWI Airport Marriott743 West Nursery RoadLinthicum, MD
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Turner Syndrome
National Organization for Rare Disorders, Inc.
It is possible that the main title of the report Turner Syndrome is not the name you expected. Please check the synonyms listing to find the alternate name(s) and disorder subdivision(s) covered by this report.
General Discussion
Turner syndrome is a rare chromosomal disorder that affects females. The disorder is characterized by partial or complete loss (monosomy) of one of the X chromosomes. Turner syndrome is highly variable and can differ dramatically from one person to another. Affected females can potentially develop a wide variety of symptoms, affecting many different organ systems. Common symptoms include short stature and premature ovarian failure, which can result in the failure to attain puberty. Most women with Turner syndrome are infertile. A variety of additional symptoms can occur including abnormalities of the eyes and ears, skeletal malformations, heart anomalies, and kidney abnormalities. Intelligence is usually normal, but affected individuals may experience certain learning disabilities. Turner syndrome may be diagnosed before birth or shortly after birth or during early childhood. However, in some cases, the disorder may not be diagnosed until well into adulthood, often as an incidental finding. The exact, underlying cause of Turner syndrome is not known. Furthermore, most cases do not run in families and appear to occur randomly for no apparent reason (sporadically).
Turner syndrome is named for Henry Turner who, in 1938, was one of the first doctors to report on the disorder in the medical literature. Turner syndrome is one of the most common chromosomal disorders and likely the most common genetic disorder of females.
Human Growth Foundation
997 Glen Cove Avenue
Suite 5
Glen Head, NY 11545
Tel: (516)671-4041
Fax: (516)671-4055
Tel: (800)451-6434
Email: email@example.com
Internet: http://www.hgfound.org/
MAGIC Foundation
6645 W. North Avenue
Oak Park, IL 60302
Tel: (708)383-0808
Fax: (708)383-0899
Tel: (800)362-4423
Email: email@example.com
Internet: http://www.magicfoundation.org
Turner Syndrome Society of the United States
11250 West Road, Suite G
Houston, TX 77065
Tel: (832)912-6006
Fax: (832)912-6446
Tel: (800)365-9944
Email: email@example.com
Internet: http://www.turnersyndrome.org
Turner's Syndrome Society of Canada
30 Cleary Avenue
Ontario, K2A 4A1
Tel: 6133212267
Fax: 6133212268
Tel: 8004656744
Email: email@example.com
Internet: http://www.turnersyndrome.ca/index.html
NIH/National Institute of Child Health and Human Development
31 Center Dr
Building 31, Room 2A32
Bethesda, MD 20892
Fax: (866)760-5947
Tel: (800)370-2943
Email: email@example.com
Internet: http://www.nichd.nih.gov/
Turner Syndrome Support Society (UK)
13 Simpson Court
11 South Ave
Clydebank Business Park
Clydebank, G81 2NR
Tel: 0141 952 8006
Fax: 0141 952 8025
Tel: 0845 2307520
Email: firstname.lastname@example.com
Internet: http://www.tss.org.uk
Genetic and Rare Diseases (GARD) Information Center
PO Box 8126
Gaithersburg, MD 20898-8126
Tel: (301)251-4925
Fax: (301)251-4911
Tel: (888)205-2311
Internet: http://rarediseases.info.nih.gov/GARD/
Madisons Foundation
PO Box 241956
Los Angeles, CA 90024
Tel: (310)264-0826
Fax: (310)264-4766
Email: email@example.com
Internet: http://www.madisonsfoundation.org
Let Them Hear Foundation
1900 University Avenue, Suite 101
East Palo Alto, CA 94303
Tel: (650)462-3174
Fax: (650)462-3144
Email: email@example.com
Internet: http://www.letthemhear.org
For a Complete Report
This is an abstract of a report from the National Organization for Rare Disorders (NORD). A copy of the complete report can be downloaded free from the NORD website for registered users. The complete report contains additional information including symptoms, causes, affected population, related disorders, standard and investigational therapies (if available), and references from medical literature. For a full-text version of this topic, go to www.rarediseases.org and click on Rare Disease Database under "Rare Disease Information".
The information provided in this report is not intended for diagnostic purposes. It is provided for informational purposes only. NORD recommends that affected individuals seek the advice or counsel of their own personal physicians.
It is possible that the title of this topic is not the name you selected. Please check the Synonyms listing to find the alternate name(s) and Disorder Subdivision(s) covered by this report
This disease entry is based upon medical information available through the date at the end of the topic. Since NORD's resources are limited, it is not possible to keep every entry in the Rare Disease Database completely current and accurate. Please check with the agencies listed in the Resources section for the most current information about this disorder.
For additional information and assistance about rare disorders, please contact the National Organization for Rare Disorders at P.O. Box 1968, Danbury, CT 06813-1968; phone (203) 744-0100; web site www.rarediseases.org or email firstname.lastname@example.com
Last Updated: 6/4/2012
Copyright 1986, 1987, 1988, 1989, 1990, 1991, 1992, 1994, 1995, 1996, 1997, 1999, 2004, 2008, 2012 National Organization for Rare Disorders, Inc.
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. How this information was developed to help you make better health decisions.
Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.


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Confronting a Necessary Evil: The Firing of Alex Robins (B)
Joshua D. Margolis
Revision Date:May 16, 2005Publication Date:Feb 26, 2004Discipline:Organizational BehaviorSource:Harvard Business School |
Product number:404113-HCB-ENG Length:4p |
English Hardcopy Black & White
Also Available in:
English Hardcopy Black & White | $ 4.27
A manager recounts his experience firing the person he was asked to replace and reflects on the challenges of the experience. Teaching Purpose: To role-play and reflect on tasks that entail harming other people to fulfill one's responsibility.
subjects covered:
Business ethics; Interpersonal skills; Leadership; Managing professionals; Organizational behavior; Resignations; Termination
- Industry: Advertising & public relations


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Classes & Extended Courses
Dharma Talks
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Bienvenidos a City Center
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City Center
Zen Meditation & Practice
Voices of Compassion: How Awakened Beings of the Past Can Inform Our Lives Today (Class), CC 1/27 - 3/17
Related Information
Anshin Rosalie Curtis
Jisan Tova Green
with Anshin Rosalie Curtis and Jisan Tova Green
Mondays, January 27 - March 17
(8 classes)
7:30 - 9 pm
The qualities we admire in awakened beings (bodhisattvas) of the past and present can inform and enliven our lives. Compassion, wisdom, focused activity and great vow—these qualities can encourage us to deepen our intention to live meaningful lives. In this class we will study Pema Chodron's
No Time to Lose
, a commentary on Shantideva's
The Way of the Bodhisattva
, and Taigen Dan Leighton's
Faces of Compassion: Classic Bodhisattva Archetypes and their Modern Expression
. Through individual reflection and discussion we will relate these teachings to living fully and beneficially in today's precious and challenging world.
$120; $108 current SFZC members; $96 limited income. Some partial scholarships available. (
About Registration, Scholarships and Cancellations
To Register:
Use the ticket table below to register online. Or call our toll free number (888.743.9362) or our local number (415.475.9362).
About Registration, Scholarships and Cancellations
Related Bio(s):
Anshin Rosalie Curtis
Anshin Rosalie Curtis came to Zen Center for the first time on January 2, 1982 for a Saturday Dharma talk. She has held various staff and officer positions and was Zen Center's graphic designer for 10 years in the 1990s. She completed her shuso training as a lay practitioner in 2004, was ordained as a priest a year later, and received dharma transmission from Michael Wenger in 2011. Currently she is the tanto, head of practice, at City Center.
Jisan Tova Green
Jisan Tova Green, LCSW, currently serves on the Board of Directors as Vice President of San Francisco Zen Center. Previously she held positions as City Center Director and as a hospice social worker. A practice leader at San Francisco Zen Center, Tova co-founded Zen Center's Queer Dharma Group.


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Spiegler Rennsport Brake Line Kit Suzuki GSXR 1000
Spiegler Rennsport Brake Line Kits are not only designed to improve braking performance, but also incorporates years of motorcycle road racing knowledge. They are designed to help eliminate clutter up in the front end of any racing motorcycle by routing only one fitting and one line to the master cylinder. The lower half of the brake line runs in front of the forks, this increases the length and eliminates binding caused by fork travel.
The RSC type is tailor made to work in conjunction with Ohlins extended fork caps.
Spiegler Brake Lines are not only DOT approved but TUV as well. Along with these approvals Spiegler Brake Lines undergo an in house durability test where a brake line is spun for 35 hours at 800 rpm, all while maintaining 230 psi.
Most OEM manufacturers recommend that you replace your rubber brake lines every 2 to 3 years. Over time OEM rubber lines deteriorate due to expansion and UV damage. This leads to increased braking distances and possible failure.
Note: Image for reference only.
Have a functionality, fit, or otherwise product-specific question about the Spiegler Rennsport Brake Line Kit Suzuki GSXR1000 2009-2011? Ask it here! If you have a customer service or shipping question, please direct it to our Customer Service department.
Product Style | RevZilla Item # | Manufacturer Product # | Availability |
Black/Black / RSC | 902623 | SPGS-SU0295RSC | Out of Stock |


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Natchez Trace State Park was named for the famous Natchez Trace, a Natchez, Mississippi-to-Nashville highway that was an important wilderness road during the late 18th and early 19th centuries. A western spur of the trace ran through part of the modern-day park.
more like this »The park was named for General Nathan Bedford Forrest, the intrepid Confederate cavalry leader, whose operations were concentrated along the river in the vicinity of the park and the town of Eva.
more like this »Hi. It appears that you are visiting us from outside of Tennessee. Listed below are links that were of interest to other non-residents. We hope that you find them helpful.