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Re: Two questions about new fuel tank install
Nix the painting. I do tank inspections in my day job (API licensed inspector) and I've seen many Al tanks ruined by coatings.
The 2 big rules are to keep the base out of saltwater, and be VERY careful with dissimilar metals (no brass or bronze fittings, only SS by code) and grounds. Additionally, there are some additives that greatly reduce Al corrosion. Practical Sailor did a review. As I recall Stabil and Star Tron did best. However, internal corrosion is mostly a steel tank problem.
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The Reverend Gean West looked out at the packed house and wondered what he had gotten himself into. It was October 2009, and he and his gospel group, the Relatives, which hadn't played a show in almost thirty years, were about to take the stage at the Continental Club in Austin. The crowd inside the dark, cramped venue was young, fashionably scruffy, and mostly white. The reverend and his bandmates—including a minister, a deacon, and a church elder—were African American, and most of them were well into middle age and beyond. The group couldn't help but feel a little out of place. "I was thinking, 'This doesn't look like a gospel music crowd,' " West says. "But if it was meant to be, God would make it work."
The Relatives had decided to regroup for this one-off gig to mark the release of Don't Let Me Fall, the first-ever compilation of the psychedelic-laced funk-gospel songs they had recorded decades earlier. Few people had heard their music the first time around, and for years West had had little reason to think many more would. But here he was, at 73, about to experience a storybook second act.
The set started with a bass line and a drumbeat, with some conga and scratchy guitar thrown in. Then the singers, decked out in aqua-blue suits and gold shirts, came onstage one by one. West's younger brother Tommie let out a wail worthy of Wilson Pickett, the band kicked in, and all heaven broke loose. The crowd went downright Pentecostal, lost in the spirit.
But the club didn't feel like church that night. The Relatives may preach, but they do so by way of the psychedelic soul of Sly and the Family Stone and "Ball of Confusion"–era Temptations. It's a combination captured with gripping intensity on The Electric Word (Yep Roc), the Relatives' just-released debut studio LP, which was produced by Jim Eno, the drummer for indie-rock heroes Spoon, a band whose aesthetic, you'd think, couldn't be further from gospel.
The fourth oldest of eight kids, West was always singing—gospel in church and doo-wop on the street corners of his West Dallas neighborhood. His gravelly voice got him noticed, but he didn't become serious about music until he served a few years in prison for auto theft. When West got out, he left the secular stuff behind and focused on gospel. In the early sixties he joined Shreveport's Southernaires and hit the road. He didn't make a lot of money—"We were all so broke that we called bologna 'quartet steak,' " he remembers—and he even turned down offers that might have led to better remuneration. Houston's Duke/Peacock record label wanted West to bring his gritty yelp to R&B. "This was before James Brown got famous doing the same thing," he says. But he stayed loyal to gospel. In those days, you didn't cross over—you defected.
In the late sixties the Southernaires played several shows with the Mighty Clouds of Joy and the Staple Singers, two acts that had begun playing "message songs" that tapped into the era's currents of cultural change. So when West came off the "gospel highway" in 1970, he immediately understood the songwriting direction his brother Tommie had taken with "Speak to Me (What's Wrong With America?)," a song that was inspired by the veterans in their neighborhood who returned from Vietnam not as heroes but as black men who still had to deal with racism. Gean realized that gospel wasn't addressing the sorts of issues that were dividing the country. Popular music was. So he and Tommie formed a "conscious" gospel group with a full backing band.
The group, calling themselves the Relatives, booked their first gig at the Victory Baptist Church. "The folks just looked at us crazy," the drummer, Earnest Tarkington, says of the acid-rock guitar and heavy backbeat. They went over better playing from a flatbed truck for a community clean-up campaign. "The church wasn't ready for us, but the public loved it," says Tarkington.
The Relatives put out "Speak to Me" as a single in 1971 to sell at their shows and followed that with "Don't Let Me Fall" and a third single in 1974. But the excitement they generated onstage never translated into a larger audience. In 1980 West disbanded the group and turned his attention to overseeing his God's Anointed Community Church.
And that's where the story would have ended, if not for a sequence of events that some might describe as, yes, miraculous. In the nineties, a woman named Billie Buck bought a copy of "Don't Let Me Fall" at a Fort Worth garage sale and gave it to her son Mike, the co-owner of Antone's Record Shop, in Austin. Mike played it for local record collector and DJ Noel Waggener, who was floored by the fuzzed-out faith song. "It was so unlike anything I'd ever heard before," Waggener says. He wanted to release the song on Heavy Light Records, the reissue label he and his wife, Charisse Kelly, were starting. But getting the rights proved difficult. Over the next twelve years Waggener looked for any information he could find about the Relatives. In 2009 he finally got a solid lead when a new post from a Dallas interfaith council mentioning Gean West popped up in a Google search.
West was initially confused when Waggener called him. His old band was the Southernaires. "The Relatives, you say?" And then it hit him. "Oh, yeah. Now, who wants to know about that group?"
Waggener explained that he and Kelly wanted to put "Don't Let Me Fall" on a compilation of Texas soul and gospel obscurities. Were there, he asked, any other Relatives songs out there? West mentioned the two other 45's and then recalled that the group had made some unreleased recordings in 1974 with producer Phil York, who engineered Willie Nelson's Red Headed Stranger. Waggener got York on the phone. Amazingly, he still had the master tapes of four Relatives songs.
Those tracks


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The Top 10 In Action Sports
01Secret Adventures: We Went Kayaking Through the Heart of London at Night
02Blaze Syka: The Surfing-Inspired Artist With An Eye For A Wave
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04No More Mr Nice Guy?
05The future of flight is here. Swiss aviator Yves Rossy takes his Jet Pack over the skies of Dubai
06Nepal: In Search of Adventure in the Most Extreme Country on Earth
07The Secrets Of Living At The Ends Of The Earth
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10OlliOlli: The Skateboarding Game That Rocked An Entire Industry
Rip Curl: Welcome Home Part 5
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Welcome Home is the brand new snowboard video starring the Rip Curl pro team. After last year's exotic adventures in the immaculate mountains of Abkhazia this year, the search brought our riders to home playgrounds of Victor Delarue, Nils Arvidsson, Darius Heristchian and Victor Daviet.
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Destination Spa Experiences, Charleston
Charleston is an enchanting, historic town rich with southern hospitality and charm. Spanish moss covered cobble stones and oak lined streets make this destination spa city a magical retreat from urban life. Escape to Charleston for a spa experience highlighted by the surrounding oceanfront.
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Bureaucratic activism and radical school change in Tamil Nadu, India
- Tricia Niesz,
- Ramchandar Krishnamurthy
- … show all 2 hide
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In 2007, Activity Based Learning (ABL), a child-centered, activity-based method of pedagogical practice, transformed classrooms in all of the over 37,000 primary-level government schools in Tamil Nadu, India. The large scale, rapid pace, and radical nature of educational change sets the ABL initiative apart from most school reform efforts. Interested in understanding how this movement achieved such success, we conducted oral history and ethnographic interviews, as well as an extensive review of reform documentation, to develop a historical case study of the ABL initiative. In this article, we present one of the findings of this study, arguing that the pursuit of ABL in Tamil Nadu was characterized by varied types of bureaucratic activism. State-level administrators, whom we consider bureaucratic activists, engaged strategies for change that combined both movement-building tactics and the conventional tools of administrative power. These reformers became pedagogical experts, expended considerable time and effort promoting the method, and engaged in a participatory, grassroots approach to pursuing the ABL reform within the state education sector. The egalitarian spirit with which ABL was promoted appeared to contribute to a moral authority and good will that generated support even when administrators used traditional tools of bureaucratic power, including top-down mandates, to institutionalize the reform. Ultimately, we argue, in their bureaucratic activism to change the government schools these administrators contributed to visible shifts in the nature of bureaucratic practice itself.
- Akila, R. (2011). A trigger for change in primary education: An evaluation of ABL in Tamil Nadu, 2009. Evaluation commissioned by Government of Tamil Nadu and conducted in cooperation with SSA, Tamil Nadu.
- Allen, K, Daro, V, Holland, DC Becoming an environmental justice activist. In: Sandler, R, Pezzullo, PC eds. (2007) Environmental justice and environmentalism: The social justice challenge to the environmental movement. The MIT Press, Cambridge, MA, pp. 105-134
- Banaszak, LA Inside and outside the state: Movement insider status, tactics, and public policy achievements. In: Meyer, DS, Jenness, V, Ingram, H eds. (2005) Routing the opposition: Social movements, public policy, and democracy. University of Minnesota Press, Minneapolis, MN, pp. 149-176
- Diani, M, McAdam, D eds. (2003) Social movements and networks: Relational approaches to collective action. Oxford University Press, Oxford
- Dyer, C (1996) Primary teachers and policy innovation in India: Some neglected issues. International Journal of Educational Development 16: pp. 27-40 CrossRef
- Dyer, C (1999) Researching the implementation of educational policy: A backward mapping approach. Comparative Education 5: pp. 45-61 CrossRef
- Dyer, C, Choksi, A, Awasty, V, Iyer, U, Moyade, R, Nigam, N, Sheth, S (2004) Knowledge for teacher development in India: The importance of 'local knowledge' for in-service education. International Journal of Educational Development 24: pp. 39-52 CrossRef
- Fullan, M (1982) The meaning of educational change. Teachers College Press, New York, NY
- Fullan, M The meaning of educational change: A quarter of a century of learning. In: Lieberman, A eds. (2005) The roots of educational change. Springer, New York, NY, pp. 202-216 CrossRef
- Gupta, A (2006) Early childhood education, postcolonial theory, and teaching practices in India. Palgrave Macmillan, New York, NY CrossRef
- Holland, D (2003) Multiple identities in practice: On the dilemmas of being a hunter and an environmentalist in the U.S.A. Focaal—European Journal of Anthropology 42: pp. 23-41
- Holland, DC, Fox, G, Daro, V (2008) Social movements and collective identity: A decentered, dialogic view. Anthropological Quarterly 81: pp. 95-126 CrossRef
- Holland, D, Lachicotte, W, Skinner, D, Cain, C (1998) Identity and agency in cultural worlds. Harvard University Press, London
- Holland, D, Lave, J History in person: An introduction. In: Holland, D, Lave, J eds. (2001) History in person: Enduring struggles, contentious practice, intimate identities. School of American Research Press, Santa Fe, NM, pp. 3-33
- Lambright, WH, O'Gorman, MJ (1992) New York State's response to AIDS: Evolution of an advocacy agency. Journal of Public Administration Research and Theory: J-PART 2: pp. 175-198
- Lave, J, Wenger, E (1991) Situated learning: Legitimate peripheral participation. Cambridge University Press, New York, NY CrossRef
- Morone, JA, Kilbreth, EH, Langwell, KM (2001) Back to school: A health care strategy for youth. Health Affairs 20: pp. 122-136 CrossRef
- Niesz, T. (2008). Professional movements, local appropriations, and the limits of educational critique: The cultural production of mixed messages at an urban middle school. International Journal of Qualitative Studies in Education, 21(4), 327–346.
- Niesz, T. (2010). Chasms and bridges: Generativity in the space between educators' communities of practice. Teaching and Teacher Education, 26(1), 37–44.
- Niesz, T., & Krishnamurthy, R. (forthcoming). Movement actors in the education bureaucracy: The figured world of Activity Based Learning in Tamil Nadu. Anthropology & Education Quarterly.
- Pai, S Universal elementary education in India: An exploratory study of movements in civil society. In: Swain, A eds. (2005) Education as social action: Knowledge, identity and power. Palgrave, New York, NY, pp. 75-104
- Santoro, WA, McGuire, GM (1997) Social movement insiders: The impact of institutional activists on affirmative action and comparable worth policies. Social Issues 44: pp. 503-519
- Sarason, S (1971) The culture of the school and the problem of change. Allyn and Bacon, Boston, MA
- Sarason, S (1993) The predictable failure of school reform. Jossey-Bass, San Francisco, CA
- SchoolScape. (2009). Activity Based Learning: Effectiveness of ABL under SSA. Report of the baseline and year-end surveys by SchoolScape, Centre for Educators and Sarva Shiksha Abhiyan, Government of Tamil Nadu, India.
- Sibal to visit activity-based learning schools in State. (2010). The Hindu. http://www.hindu.com/2010/07/09/stories/2010070962160700.htm.
- Simmonds, KC (1985) The politicization of bureaucracies in developing countries: St. Kitts-Nevis, a case study. Phylon 46: pp. 58-70 CrossRef
- Williams, RH From the "beloved community" to "family values": Religious language, symbolic repertoires, and democratic culture. In: Meyer, DS, Whittier, N, Robnett, B eds. (2002) Social movements: Identity, culture, and the state. Oxford University Press, New York, NY, pp. 247-265
- Zwarich, J (2009) The bureaucratic activist federal filmmakers and social change in the U.S. Department of agriculture's tick eradication campaign. The Moving Image 9: pp. 19-53 CrossRef
- Title
- Bureaucratic activism and radical school change in Tamil Nadu, India
- Journal
Journal of Educational Change
Volume 14, Issue 1 , pp 29-50
- Cover Date
- 2013-02-01
- 10.1007/s10833-012-9194-1
- Print ISSN
- 1389-2843
- Online ISSN
- 1573-1812
- Publisher
- Springer Netherlands
- Additional Links
- Topics
- Keywords
- Activity Based Learning
- Bureaucratic activism
- India
- School reform movements
- Tamil Nadu
- Authors
- Tricia Niesz (1)
- Ramchandar Krishnamurthy (2)
- Author Affiliations
- 1. School of Foundations, Leadership, and Administration, College of Education, Health, and Human Services, Kent State University, 316 White Hall, Kent, OH, 44242, USA
- 2. Azim Premji Foundation, Bangalore, Karnataka, India


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I know there was some sort of volume issue early on with the G300, which I think was related to ringtones being to soft, which was fixed in an update. I'm on the official B892, not rooted ar anything, just came OTA. I just used the radio app for the first time today and noticed that it is considerably louder, at least using headphones, than any of the other music/video/game apps that I use. Is this the same issue? I'm in New Zealand, perhaps vodafone here didn't include the fix, is there any way of knowing?
Audio level in radio app louder than others?
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Best Magic The Gathering Freakout Ever
A portly gentleman in a game store has an epic meltdown during a Magic the Gathering game. I guess that's what happens when you dance with a Jace the Mind Sculptor card.
We made you gif of the money shot, because we know you wanted it.
[Note: And you should totally watch some of Boogie's other videos. The man is clearly a genius.]
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Although poor parenting causes many of the problems associated with children's drug abuse, there are few studies and as yet no evidence that family-based interventions alone are successful in preventing drug abuse (IOM, 1996a). However, one study found lower rates of alcohol initiation when parent training was used in conjunction with modified teaching practices (IOM, 1996a).
The positive portrayal of smoking and alcohol use on TV programs and in movies has been seen as a major influence on attitudes toward the use of these drugs. Efforts to use television overtly to counteract those messages have been made repeatedly over the years.
Public service announcements and other media-based interventions are relatively inexpensive efforts to attempt to influence the knowledge and attitudes of a large number of children and youth. However, there are no rigorous studies of their impact on the audience's later drug use or abuse. Media interventions aimed at preventing adolescent smoking have been found to affect knowledge and, in some cases, attitudes, but have not shown a sustained impact on behavior (IOM, 1996a; Murray et al., 1994). However, TV anti-smoking messages have been found to be effective in combination with school-based programs at preventing or limiting adolescent smoking behavior (Flynn et al., 1992).
Epidemiological and public health research has been conducted in states and communities that have enacted new laws or policies to prevent or limit adolescent drinking and smoking by raising the age at which an individual can buy alcohol and tobacco products. The research examines how the environment, including the cost and availability of drugs, influences the likelihood of addiction and related problems.
In 1983, Hingson et al. published a seminal study that evaluated the impact of raising the legal drinking age in Massachusetts from 18 to 20. They compared drinking, drinking and driving, and nonfatal accidents in Massachusetts and New York, which kept its drinking age at 18. Results indicated that the law was unevenly enforced, but that nighttime single-vehicle fatal car crashes declined more for 18- and 19-year-olds in Massachusetts than they did in New York (Waller, 1995). Other studies in different states clearly indicated that raising the legal drinking age decreased teenage drinking and driving and involvement in


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Parkway Apartments is located in the Chicago Area in the 60614 zip code. View this apartment on a map.
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Originally written on Niner Noise | Last updated 11/9/14
SEATTLE - DECEMBER 6: Alex Smith #11 of the San Francisco 49ers looks to make a pass play during their NFL game against the Seattle Seahawks on December 6, 2009 at Qwest Field in Seattle, Washington. The Seahawks defeated the 49ers 20-17. (Photo by Otto Greule Jr./Getty Images)
NFC Championship Game New York Giants (11-7) vs. San Francisco 49ers (14-3) Candlestick Park Kickoff: Sunday, January 22 at 3:30 PM PST TV: FOX Weather at Kickoff: 52°F, 15 mph wind (40% chance of rain) Here are five things to watch out for in the showdown beating the Giants and 49ers: Alex Smith The improbable run that has brought the 49ers one win from the Super Bowl is in large part due to Alex Smith's redemption season. The former one number one draft pick, former potential draft bust, has now turned into a franchise and viable quarterback you can now count on to come through, not only in the clutch, but clutch in the playoffs. Smith proved not once, but twice he can match touchdown-for-touchdown with a Super Bowl winning quarterback and can come out on top. Smith will need to have similar results this week against the Giants with no turnovers, accurate on passes and coming through in the final minutes of the fourth quarter like he did against the Saints. … [visit site t...
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STIR magazine from Sherwin-Williams Volume 3 Issue 3, 2006.
S H E R W I N - W I L L I A M S� W h e r e C o l o r a n d C r e a t i v i t y C o n v e r g e V o l u m e 3 � I s s u e 3 � 2 0 0 6 s t i r � e eExtra Color-Drenched Andalusia s Universal Design s Flower Power Editorial Advisor: Tresa Makowski Executive Editor: Bryan Iwamoto Editor: Kim Palmer Managing Editor: Laura Pigott Executive Art Director: Sandy Rumreich Senior Designer: Shari Schumacher Senior Editor: Mara Hess Production Director: Pam Mundstock Production Artists: Neil Kresal Cate Hubbard Project Manager: Linda Usgaard Client Services: Steff Gumingo STIR� magazine is published by Hanley Wood, LLC, on behalf of The SherwinWilliams Company, for interior designers and architects. We welcome your questions and comments. Please direct correspondence to: Sherwin-Williams STIR Magazine Hanley Wood 430 1st Ave. N., Suite 550 Minneapolis, MN 55401 Phone: (612) 338-8300 Fax: (612) 338-7044 E-mail: email@example.com Web site: sherwin-williams.com Printed in the United States, � 2006 Sherwin-Williams, Vol. 3. Issue 3, 2006 STIR Advisory Board Emily Blitzer Paul Segal Associates New York, NY Kathleen Neama The S/L/A/M Collaborative Glastonbury, CT Ann Newton Spooner, IDS national president Ann Newton Spooner Interior Design Charlotte, NC Karin Schluer, Allied ASID, LEED certified Karin & Company Long Valley, NJ Leslie Shankman-Cohn, ASID Eclectic Interiors Memphis, TN Zara Stender, CID, IDS, Allied ASID, CMG vice-chair ZaraDesigns Reno, NV Kristine Stoller, NCIDQ certified KSID, LLC Sharon, MA Abby Suckle, AIA Abby Suckle Architects New York, NY Denise Walton, ASID, NCIDQ certified Denise J Walton Design Scottsdale, AZ O MORE WAYS TO STIR� YOUR IMAGINATION ne of my favorite parts of this job is reading what you have to say about STIR. Recent requests include adding even more color insights, updates on color science and technology, photos of featured projects, and links to resources that provide further information on STIR topics. You've also asked to hear how other designers have solved color challenges. I'm delighted to announce the debut of two new online resources that will offer a full spectrum of color inspiration: > A transformed swstir.com brings you increased functionality and richer, more robust content. The all-new Web sitelet expands on STIR stories and supplies related links, makes it possible for you to search for past magazine articles and topics, and provides a subscription center where you can manage your contact information. > STIR eExtra e-newsletter arrives six times a year in your e-mail inbox, featuring color information you can use right away. We'll look at a major color topic from all sides, starting with color and its impact on well-being. You'll find color tips supplied by your peers, news about color technologies and tools -- even color fun. I look to the e-newsletters I receive as a quick and easy idea source -- downloading stories to incorporate as references in my own work or to share with colleagues and friends. I hope STIR eExtra will inspire you the same way. Make sure to send in the enclosed response card or sign up on swstir.com for the premiere issue. Sincerely, Sheri Thompson Director, Color Marketing and Design The Sherwin-Williams Company Order Sherwin-Williams color samples online at sherwin-williams.com. For product or compliance questions, call the Architect and Designer Answerline at (800) 321-8194. The trademarks and copyrights of Sherwin-Williams appearing in STIR are protected. All other trademarks are the property of their respective owners. For local service and advice, please see your SherwinWilliams Architectural Account Executive or your local store. 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THE COLORS OF ANDALUSIA The design world is finding new inspiration in the bold, distinctive color palette of Spain's Andalusia region, which offers an unparalleled feast for the eyes. 21 Denotes expanded content and images found exclusively on swstir.com. 10 DESIGNER ROUNDTABLE Our guest designers tackle the question of what our color palettes today will say about us 100 years from now. 16 UNIVERSALLY APPEALING First-of-its-kind Atlanta show house adopts the principles of universal design to create accessible living spaces. 5 2 12 PAINT TECH Coatings that seal off food sources for mold are in high demand, especially in areas hit hard by flooding. 18 GOING GREEN A Chicago office building boasts a roof sprouting hardy grasses, reused structural components and the nation's first LEED-CS Gold certification. 15 12 20 SHERWIN-WILLIAMS Stir 1 Palette COLOR N EWS AN D SOLUTIONS FROM SH ERWI N-WI LLIAMS A LITTLE SOMETHING EXTRA Beginning this winter, STIR� magazine subscribers can request a little color in their inbox, courtesy of Sherwin-Williams� STIR� eExtra. This new e-newsletter will arrive six times a year, with more insights, facts Epitome of Smooth For a great, lowstipple finish that's as easy on your contractor's arms as it is on your client's eyes, try SherwinWilliams Cashmere� Interior Latex paint. Cashmere is an ultra-smooth, highhiding interior latex paint engineered primarily for residential repaint work. It goes on like butter, leaving a rich, silky, high-end finish in flat enamel, low or medium lustre. You and your customers will see and feel the difference. s and features that will put you on the cutting edge of color and design. Look to STIR eExtra, launching in November, for a multifaceted approach to key color topics, resources and tools to inspire your design, examples of how other designers solve color challenges, and special surprises in each issue. It's another way Sherwin-Williams ILLUSTRATION BY STEPHANE DENIS helps you color your world. To sign up to receive STIR eExtra, send in the reply card inside this issue of STIR, or go online to swstir.com. s 2 SHERWIN-WILLIAMS Stir Better ingredients mean better performance. A high-quality paint starts with high-quality ingredients that allow paint to apply more easily, look better and last longer. There are four key ingredients that affect the quality of paint: "For those colours which you wish to Pigment. There are two different types of pigment that go into a can of paint: "prime" pigments, which provide color and hide; and low-cost "extender" pigments, which add bulk to the product, but have little value as it relates to color. Higher-quality paints contain more of the allimportant, yet more expensive, "prime" pigments, which in the end give you easier application, better color retention and stronger durability. first prepare a pure white ground." be beautiful, always LEONARDO DA VINCI, 1452�1519 The type, quality and amount of binder affects everything from stain resistance and gloss to adhesion and crack resistance. Higher-quality binders, found in higher-quality paints, adhere to surfaces better and provide enhanced film integrity, making them more resistant to cracking, blistering and peeling. There are a variety of binders used today. Latex paints contain either 100 percent acrylic, styrene acrylic, or vinyl acrylic binders, while oil paints typically contain linseed oil, soya oil or modified oils called alkyds. Binders. COLOR FOR KICKS What's old is new again as adidas resurrects and reinterprets adicolor -- a line of all-white sneakers and waterproof colored markers first introduced in 1986 so consumers could create their own custom kicks in whatever shades they wanted. Twenty years later, these classic models are back, available ready-made in red, yellow, green, blue, pink and black, with interchangeable colored stripe inserts to match your mood. In addition, adidas has teamed up with creative minds worldwide to design a pair of White Series shoes using one of the colors from the vintage adicolor palette. The result? Original shoe creations that show off color's unique role in expressing artistic vision. View them online at www.adidas.com/adicolor. s The liquid provides no added performance benefits. It's simply the "carrier" that allows you to get the paint from the can to the surface. As one would guess, top-quality paints have a greater ratio of solids (pigment and binders) to liquids, while cheaper paints are more "watered down" with liquid. Liquids. Additives are ingredients that give paint a specific benefit that it might not otherwise have. Additives such as rheology modifiers (which provide better hide and durability) and mildewcides (which keep mildew in check) are common additives found in higher-end paints. Others include dispersing agents (which keeps the pigment evenly distributed) and preservatives (which prevent spoilage during storage). Additives do increase the cost of the product, but also provide significant added benefits. s Additives. SHERWIN-WILLIAMS Stir 3 Color Chips Fruit comes first Before oranges were introduced to the Englishspeaking world in the 14th century, the portion of the spectrum that carries their name was commonly referred to as yellow-red. Oranges originated in Southeast Asia; the word orange comes from the Sanskrit word naranj, which referred first to the fruit, then to its striking color. Whiter shade of purple Why is eggplant purple when eggs are not? The eggplant specimens first documented by the English bore white, egg-shaped fruits. Even today, the berries of the eggplant come in many sizes, shapes and colors, from the original eggshell white to the well-known deep purple. Rocky origins The color term turquoise probably has its roots in the French phrase, pierre turquoise, or Turkish stone. Although turquoise stones (in a variety of shades) were commonly traded in Turkish markets, turquoise is not found in Turkey. Military dust-up In 19th-century India, soldiers found that their military whites turned a dusty tan after only a few hours in the elements. They used local mud to dye their cotton garments a uniform tan color and called the color khaki, which means dusty in Hindi. s SHACKTEAUX DE GLACE When the organizers of Maine's Sebago Lake Rotary DerbyFest -- the third-largest ice-fishing tournament in the country -- were looking for ways to boost attendance, the problem was clear: 12,000 attendees, but relatively few women. Local marketing and design guru Karen DominguezBrann contacted Sherwin-Williams for help with a novel remodeling plan: "All summer I'd been driving past these ice-fishing houses and imagining that I would rent one, French it up, hang a chandelier and have parties with my friends. Imagine a whole little village of anti-fishing-shacks for the women to enjoy. They said, `You're right; it's crazy -- go for it!'" says Dominguez-Brann, and the first-ever Ice Fishing Shackteaux Designer Showcase was born. The execution was simple: Interior designers, architects, builders, furniture makers and boutique owners paid $300 each to shape a shack to their liking, with exterior palettes inspired by the reflection of light on ice. Sherwin-Williams donated the paint, and the proceeds (like all DerbyFest revenue) were donated to Camp Sunshine, a local camp for children with cancer. Dominguez-Brann is preparing for this year's event by reformulating the colors to be stronger; otherwise, the bright winter sunlight washes them out: "Picture all of these little houses in the colors of the frozen lake at twilight. The palette will be even better this year!" For the Shackteaux christening ceremony, Dominguez-Brann recommends a bit of the bubbly: "You have to serve champagne -- and you'll never have to worry about keeping it chilled." s 4 SHERWIN-WILLIAMS Stir ILLUSTRATION BY STEPHANE DENIS The Colors of Southern Spain, with its exotic fusion of European and Islamic influences, casts a sensual spell on modern-day design Andalusia B y C H A R LOT T E STO U DT "There's nothing crueler in life than to be blind in Granada" goes an old saying about one of Spain's oldest and most spectacular cities. The region's allure has captivated centuries of travelers, conquerors and inhabitants. Former President Bill Clinton, on a visit to Madrid for a NATO summit in the 1990s, detoured to Granada to re-experience the singular beauty he'd first encountered as a college student. Raving to reporters about the area's stunning Moorish architecture and jaw-dropping sunsets, he brushed off foreign-policy questions. "Don't work today," Clinton insisted. "Just watch!" The design world has been doing just that: finding new inspiration in southern Spain's bold, distinctive color palette. This age-old aesthetic suddenly feels very modern -- a celebration of the senses that ultimately engenders serenity. "People are looking for something that feels visually rich," says color trend consultant Michelle Lamb, senior editor of the Trend Curve (www.trendcurve.com). "They want color that envelops them." SHERWIN-WILLIAMS Stir 5 Visual feast There's no doubt that Spain's Andalusia region -- which includes Granada, Seville, C�rdoba and the Costa del Sol -- offers an unparalleled feast for the eyes: farmhouses painted yellow, vivid against a clear blue sky; the luminous honeycomb stucco of Granada's Alhambra palace; freshly fallen oranges carpeting the streets of Seville; shady stone courtyards where fountains and bougainvillea spill over cool blue and white tiles. This heady mix of colors and textures is a response not only to the region's intense sunlight and fresh sea air, but to its rich history of cultural cross-pollination. The Islamic rule of Spain that began in A.D. 711 produced dizzying scientific and artistic triumphs, and introduced the West to olives, almonds, oranges and rice. Long after the European reconquest of the region, the cherished traditions of Moorish (or Hispano-Muslim) culture remain alive -- among them a sense of hospitality and sensuality, and an uncanny ability to enjoy simple pleasures luxuriously. In the words of travel writer Chris Stewart, whose farm in Andalusia became the subject of the best-selling "Driving Over Lemons" series: "The Arabs would have it that even if your worst enemy should get up early in the morning to come round to your house and kill you, you must first offer him a good breakfast." That promise of well-being -- at least while coffee is served -- is the key to Andalusia's richly varied color palette. Whether it's the hot fuchsia of a silk cloth stretched across a bed canopy, or a gray-white wash on a cottage wall, the region's hues reflect a deep awareness of earth, air and sea. Inside out Moorish color and design philosophy calls upon tone and texture to evoke nature, not to trump or ignore it like many formally designed Western interiors, which often rely on artificial light and air. Andalusian spaces are built with a sense of what's beyond their walls. Wooden fretting (mousharabiya) lets in daylight while blocking out harsh glare; minimal furnishings, as well as stone floors and tile borders, are used both inside and in gardens and porch areas to express a less rigid distinction between indoor and outdoor space; houses are painted vivid colors to retain visual definition despite the region's intense light. (Along the Spanish coast, legend has it that fishermen's wives painted their homes in striking color combinations so husbands could recognize their homes far out to sea.) Previous page: Montefrio at dusk. From left: decorative tile bridge railing, vista of verdant fields, hillside town of Casares and vividly painted chapel in Cabo de Gata. Opposite: Flamenco dancer Merche Esmeralda performs during the Jerez Flamenco Festival. Regional Hues E L E M E N TA L S Colors that mirror the Earth's primal elements. The characteristic blue and white tile, cut to form intricate geometric mosaics (zellij), evokes the sea and sky; rich yellow (a distinctive color known as aljero) recalls Andalusia's rocky desert regions. H OT F LOWE R TO N E S Full-on color, often in unexpected combinations: hot pink and aubergine, or burnt orange and eye-popping red. A sense of luxury out of the sun's glare. SERENE NEUTRALS Cool gray-whites instill a sense of calm, create an awareness of shape and texture, and offer a visual respite. SUN-KISSED SHADES Earthy colors ripened under the Mediterranean sun -- clay red, deep oranges, golden tones -- evoke an aura of timelessness. SW 6963 Sapphire SW 6870 Ablaze SW 6247 Krypton SW 6670 Gold Crest 6 SHERWIN-WILLIAMS Stir " . . . a flame that insists on dying in order to be reborn." -- French writer Jean Cocteau on flamenco style SHERWIN-WILLIAMS Stir 7 ". . . Gaudi's Casa Batll� [is] famous for its organic form and coral-reef-inspired colors." 8 SHERWIN-WILLIAMS Stir Western interiors have tended to shy away from bold, sensual color, but the Andalusian approach appears to be catching on. Over the last few years, strong color has been gaining ground, according to Lamb. "Color has grown to be acceptable in a way that it wasn't 10 years ago." Andalusian style calls for a change in color intensity, and in outlook. "We're modernists," says Susan Sully, author of New Moroccan Style: The Art of Sensual Living, an architectural celebration of the North African country that served as the portal of Islamic influence in Spain. "Everything in America is machine-made and perfect. After awhile that loses its excitement. The Hispano-Muslim style is appealing because it's rooted deeply in time, in centuries-old traditions." Sully cites the craftsmanship and appreciation for natural materials displayed in thick Berber rugs, carved wooden doors and wrought-iron grilles featuring plant motifs. "So much is still handmade in this part of the world," Sully says. "We miss that in our culture." Interior designer Bonnie Birnbaum found inspiration in Spain while working on a recent show house project in St. Paul, Minn. The centuryold mansion's redesigned kitchen now features a spectacular swirling helical ceiling design modeled after a ceiling Birnbaum saw in Spanish architect Antoni Gaudi's Casa Batll�, famous for its organic form and coral-reef-inspired colors. Flowing from nature "Gaudi was working in the Art Nouveau mode, which used shapes that flowed out of nature," she explains. "It was really a rebellion against industrialization. Art Nouveau looked back to the Middle Ages: When people made a product, they made a whole product, often by hand." Hispano-Muslim style doesn't have to feel nostalgic or excessively theatrical. "It's not about imitating the `ethnic craze' of the '60s," says Sully, referring to the decade when Morocco became a destination for rock stars and experimental authors. "For me, the appeal of this style is its combination of unexpected qualities: sensuality and serenity, exoticism and minimalism." And because it developed out of a m�lange of cultures, the Andalusian aesthetic lends itself to eclecticism. The right contrasting wall color can heighten awareness of the feel of wood, leather or velvet antique furniture and play up a space's particular quality of light. Painting a fireplace a contrasting color from its surrounding wall can draw the eye to the texture of its bricks, or even its wooden mantel. The spirit of Andalusia can inspire rewarding design choices in any climate or context. "Wherever you live, it's always possible to have a more natural relationship with the environment around you," Sully says. "This style teaches us to reconnect with the elements." Opposite: Antoni Gaudi's Casa Batll� in northern Spain displays Moorish design influence. From left: Moroccan carpet display, stencil patterned arched doorway, wrought-iron patio gateway, inlaid mosaic hotel lobby. SW 6615 Peppery Spanish Accents WORK WITH EXISTI NG PI ECES BORROW AN DALUSIAN CRAFT TECHNIQUES Colorwashing (applying a thin layer of color over a painted surface of a different color or tone) or creating a filigree-like plaster border or panel, carved while still damp into complex and delicate patterns (tagguebbast), gives a modern space a distinctive sense of texture. R E L I S H T H E D E TA I L S You can bring a sense of Mediterranean living into any space without making it look like a Hollywood harem. Try stenciling a ceiling with an abstract natural pattern, or add one or two inspired accessories. Even the simplest, most functional pieces can express a subtle sense of craftsmanship: a small coffee table with an inlaid ivory border, a braided straw chair or a muslin bed canopy. Denotes expanded content and images found exclusively on swstir.com. The eclecticism of Andalusian style can mix with existing elements. The organic shapes in HispanoMuslim ironwork, rugs and leather furniture work well with any period furnishings that have a similar curvilinear form. SW 6118 Leather Bound SW 6279 Black Swan SW 6363 Gingery SHERWIN-WILLIAMS Stir 9 C O L O R S P Y FLOWERS for Every Season Floral designer Sarah Hobden creates lasting impressions with temporal elements 10 SHERWIN-WILLIAMS Stir B y JAM E S WA LS H Some designs last a lifetime or even longer. Others are fleeting. Sarah Hobden's designs survive for only a week, at most. The creative director for Renny & Reed (www.rennyandreed.com), a New York City florist and event-planning service, discusses her approach to color and the challenges of working with plants. STIR: What's your first step when creating an arrangement? SH: I always begin my day with an early-morning walk through the flower market. I do still get just blown away by flowers sometimes. STIR: You work with a perishable and variable natural medium. How does that affect your approach to color? SH: Most often my inspiration for color is derived from my medium. Many times a single flower will combine colors in a way that I have never thought of. For example, there is a bearded iris that is a silvery lilac with a shocking orange throat. I wouldn't have combined those two colors until seeing how beautiful they were together on the flower. STIR: Tell us about your most challenging assignment. SH: The arrangements at the Four Seasons Hotel in New York have been my most challenging work. It is a different design aesthetic than what I had been used to. The look there is much more architectural and contemporary than traditional flower design. Once I grasped the look, it was easy to embrace. STIR: How do you develop seasonal palettes for your arrangements at the Four Seasons? Do you rely on colors we typically associate with the seasons, or do you like to use unexpected colors? SH: I try to take advantage of what the season has to offer. There are many flowers that are around for only a limited time, so I try to incorporate them into my designs when I can. This doesn't mean orange in October or red in December, but it may mean using rich jewel-toned dahlias in burgundy and coral in September or yellow mini daffodils and green helleborus in April. STIR: What are some of the most unusual items you've incorporated into floral arrangements? SH: I was fortunate enough to learn floral design from a woman named Barbara Bockbrader in Massachusetts. Part of my job was to cut and process the flowers and then use them for designs. Everything in or around the gardens was fair game. Baby tomatoes still on the vine would be snipped and used in centerpieces, or mossy pieces of broken pots could be wired into arrangements for an earthy, organic style. STIR: What tips do you have for designers on how to use flowers and plants most effectively? SH: I think the most important aspect to using flowers is to recognize in them what is most beautiful and use them in a way that shows each one most effectively. STIR: Can you elaborate? SH: When using a perishable medium like flowers, you need to pay close attention to how long everything is going to last and how things are going to develop next to each other. Some things are going to fade really quickly. You need to make sure your major elements are going to last as long as you need them to. STIR: What mistakes do people make when using flowers? SH: Color is the most important aspect, and it's really important to pay attention to the individual flowers. Some people just stick flowers together because, say, they're yellow. But sometimes a flower will have more than one color in it. You really need to use that and use other colors that work with that. STIR: What's your approach to flowers and plants in your own home? What colors do you tend to choose? SH: I rarely have flowers at home. I think it is a little like the shoemaker's children having no shoes. I do, however, have a lot of plants. I tend to fall in love with large striking plants, and I am running out of space for them all. As for color, I always feel most attracted to warm tones and have a lot of brick reds and oranges. They create a very inviting and comfortable feeling, and they contrast well with the green color of all my plants. STIR: Describe some other projects you've worked on. Your Web site lists some pretty high-profile clients, such as Diana Ross and the White House. SH: I am fortunate in the variety of work I get to do, from beautiful hotels like the Four Seasons to large weddings in Beverly Hills, and garden terraces for penthouse apartments on Park Avenue. I am particularly excited to be taking on the designs at the Jumeirah Essex House in New York. It's a historic hotel off Central Park, and we are doing the lobby, restaurant and public locations. STIR: If you could have chosen another career, what would it have been? Would it have been related to design? SH: I probably would have been involved with horticulture or botany. I just love the plant and flower world too much to imagine doing anything else. I PHOTOGRAPH BY BY BRADFORD NOBLE SHERWIN-WILLIAMS S t i r 11 D E S I G N E R R O U N D T A B L E What will today's color preferences say about us in 100 YEARS? 12 SHERWIN-WILLIAMS Stir Abby Suckle Abby Suckle Architects Dale Mulfinger SALA Architects Karin A. Schluer Karin & Company Leslie ShankmanCohn Eclectic Interiors By KITTY SHEA Every era is colored by a palette that sums up the times, tells the human story and secures a page in history. STIR� invited four architects and interior designers to gather around their respective computers for a keystroke conversation about the directions spinning today's color wheel and how the hues prominent now might be perceived in the next century. We're grateful for the musings of Dale Mulfinger, co-founder and principal of the Minneapolis firm SALA Architects and author of three books on cabins for Taunton Press; Leslie Shankman-Cohn, proprietor of Eclectic Interiors in Memphis and an interior designer devoted to "aging in place, aging in style"; Karin Schluer, a LEED-certified interior designer and owner of Karin & Company, LLC, a Long Valley, N.J., firm specializing in high-end residential and commercial office design; and Abby Suckle, a New York City architect with expertise in civic, academic, residential and corporate projects. STIR: How would you describe today's prevailing color palette? KS: Nature and natural forces continue to have strong influence as consumer awareness about the importance of preserving our environment grows. AS: It's far simpler to create a building that looks "green" than it is to get LEED-certified. Not a lot of people know how to achieve actual sustainability. In truth, a sustainable product could very easily be shocking pink, but it just doesn't feel right. DM: Although nature really carries all colors -- pink lady-slippers, white snow, black taconite, lime-green praying mantises -- we probably all think of natural colors as rich, more subdued hues. STIR: So "nature-inspired" will be viewed as this period's color banner? pumpkin yellows, and beiges set against silver turquoises or walls of glass. Rem Koolhaas has a cleaner, fresher-looking orange. Avocado is a more acid green. But we're not 1950s post-war suburbia. We're the era of the Internet, e-mail, the BlackBerry, iPods and computer-aided design; of reality TV, HGTV and extreme makeovers. We've just acknowledged the reality of global warming and tsunamis, Hurricane Katrina, $70-plus barrels of oil, and sustainability. I really think the colors of this era will be the clean/natural palette. DM: Regardless, we'll be recorded as a culture that was willing to use color on everything except exteriors. If you look at mass housing, you'd say today's palette is beige. We're still timid there and haven't found too many ways to keep intense color from fading. STIR: What do these palettes say about our culture at this time in history? KS: Nature and nostalgia. LSC: Nostalgia, yes. The hot pinks, lime greens and aquas within today's prevailing earth tones and spa hues are reminiscent of 1950s and 1960s retro looks. DM: The force is sometimes referred to as the Dwell/IKEA "Design Within Reach" syndrome, where a return to 1950s style and color is in vogue. Every month Dwell magazine gets thicker, while Architectural Digest gets thinner! AS: The colors are not quite the appliance colors of the 1950s, but updates. You see pungent avocados, persimmon oranges, ILLUSTRATIONS BY MARGARET RIEGEL DM: The beige of market housing says "fear of resale," which stems from our highly mobile culture. The richer, fuller palette of architectural housing speaks to consumer maturity and confidence. KS: Clients are more confident. I've observed more color bravery in both interior and exterior design: splashes of bright colors in unexpected places, bolder blasts, more color saturation. Technology has had a great impact: We're increasingly aware of not only our surroundings but of our differences, too. As a result, we're becoming more multiethnic and color-educated, and accepting of a much broader palette. SHERWIN-WILLIAMS S t i r 13 " . . . we're becoming more multiethnic and color-educated, and accepting of a much broader palette." LSC: The global information age is a historical first. Colors and trends are reflecting influences from all the world's cultures. At the same time, we have less social interaction aside from the disconnected discourse of the Internet. Our "spas" are now in our homes. Our shopping and entertainment are now done from home. STIR: So we're more sophisticated because of technology but yet isolated by it as well? THE COLOR PENDULUM Colonial Times Immigrants emulate the American Indians' use of pigments from nature. Paint is a luxury; its use signifies stature, according to architect Dale Mulfinger. Classical Revival Period Affluent Americans send their offspring to tour Roman and Grecian classics, spawning a whitewashing of America. "White's seen as morally and hygienically pure," Mulfinger says. "I suspect that coal-fired industries and heating systems in apartment buildings were making our cities dark and dreary." LSC: The isolation isn't only technology. Faced with uncertain politics, we're looking for security at home. That mirrors the political climate of the 50s, which was one of the Cold War and fear, so people were nesting then as well. KS: Nostalgia, with its familiar patterns and color families, creates an environment that we remember as safe and understandable. DM: For its part, green equates to nature, making natural green hues one of the few safe places for us to hide against the onslaught of wars, global warming and the excess of consumerism symbolized by Hummers and Jet Skis. STIR: Any crystal-ball projections on what will be influencing color 100 years down the road? Victorian Era Exuberant colors and their copious use herald the "arrival" of society's less-traveled nouveau riche. Even simple buildings were lavishly decorated and painted. "They were showing off and having fun," Mulfinger says. Turn of the Century White returns, calming the Victorian color frenzy. Americans become less certain that Europe holds all the answers, says Mulfinger, giving rise to the local sensibilities and native colorations of the Arts & Crafts movement. DM: The melting-pot society in which we live will get less Eurocentric and richer in color, with the broad palette of African, Asian and South American influences. I hope that our willingness to live with the rainbow of colors will reflect upon our willingness to coexist with the rainbow of ethnicities, races and religions. Either that, or we must all accept beige and "my" religion. AS: You need only look at society 100 years ago to see how unpredictable things are. It was the beginning of automobiles, electricity, the Wright brothers and flight. No one had telephones or refrigerators, the first subways were being dug, women wore long skirts, and everyone wore hats. Art Nouveau was the "hot" style. Scotch Tape hadn't been invented, nor zippers or movies. If the palette was anything, it was gray with splashes of lilacs or rose, soft green and lemon. Things will change in 100 years in ways we can't even imagine. KS: Change has always been a strong human desire. The color pendulum will swing from little color to excessive. Going forward, natural colors and materials will be viewed and used with the mix of colors they contain. The need for comfort, luxury, flamboyance and sparkle won't likely diminish. LSC: The concept of biomimicry will come of age, and color will be in a state of immediate and constant evolution. Things will change with the weather or time of day, or by touch. There are already tiles that change color in these ways. Colors will help with our energy needs, somewhat like solar power or induction and convection. Think of a zebra's stripes: The dark and light colors create a temperature differential that creates an air current to cool the zebra. If we knew how this stuff would work, we could all be millionaires! I The Great Depression Colors become muddier and darker as financial struggles stretch on. The 1950s and 1960s Post-war development in the suburbs brings the beige cloud. With the robust economy stirring mobility, homeowners view houses as salable assets rather than personality-infused inheritances to bequeath. Modernists promote bright primary shades. The 1980s and 1990s Vibrant, loud colors mirror a strong economy and prominent place on the world stage. The stock market dive mutes colors back down. Environmental awareness in the 1990s stirs interest in earth tones and natural hues. This Century After 9/11, homes become safe havens staged in soft, inviting shades. 14 SHERWIN-WILLIAMS Stir C O L O R T E C H Paint That Breaks the B y A N D R EA G RA Z Z I N I WA LST R O M Rebuilding efforts in New Orleans increase awareness of a growing health problem -- and its remedies Mold W ILLUSTRATION BY STEPHANE DENIS hen the flood waters of 2004's Hurricane Katrina receded, little was left of many homes and buildings -- except conditions ripe for a massive mold problem. Now the city is dealing with an environmental disaster that threatens to wreak havoc long after the community repairs its old buildings. "The mold spores are so high down there that you should be wearing a mask just sitting outside, let alone working inside," says Thomas Clay, executive director of the Healthy Building Institute of America. The city provides ubiquitous moisture, warm conditions and endless "food sources" such as damp drywall and wood on which mold spores can germinate and colonize. What's worse, says Clay, "Mother Nature is changing the game." The mold in New Orleans -- indeed across the country -- is more toxic than ever before. Molds today are developing resistance to cleaning products, such as bleach, and can be incubated by air-conditioning systems. Combine aggressive spore growth with building processes that overlook the increasing seriousness of indoor air quality, and more and more people could be affected by mold fungi, says Clay, which can compromise the immune system and leave building inhabitants with health issues such as asthma, lupus and upper-respiratory disease. Nationwide concern Keeping mold out of buildings is no small task for architects and builders everywhere. Mold growing on lumber before it even arrives on a job site, unprotected plasterboard, improperly drained weep holes, and buildings wet from rain or snow that are closed before they dry out are among the ways mold can proliferate. Oxygen therapy and UV lights can kill mold but are rarely used as developers and builders rush to finish buildings. It is better to use good building practices to prevent mold in the first place, says Clay. Once moisture is eliminated, architects and designers hold the key. Green design with nontoxic, antimicrobial building materials, including Sherwin-Williams Harmony� and Duration Home� paints that inhibit the growth of mold on paint film, is a fundamental first step. Clay strongly urges that healthy-building plans be developed and used throughout the construction process. "We need a policy to develop moisture-management plans as part of every design," says Clay. Though the task of containing and preventing mold in New Orleans seems overwhelming, it may well lead to building standards long overdue -- standards that make communities everywhere healthier. I SHERWIN-WILLIAMS S t i r 15 Color updates a 19th-century architectural style for a new concert hall in Music City By LAU RA WEXLER A 16 t first glance, the Schermerhorn Symphony Center, the new crown jewel of Nashville's revitalized South of Broadway (SoBro) district, appears to be a traditional neoclassical building, with its ornate pediment, marble columns and grand colonnades. But a closer look reveals that the building is "more taut and streamlined than a traditional Beaux-Arts building," says Steve Knight, of David M. Schwarz Architectural Services in Washington, D.C., which designed the building's public spaces. "We wanted to reinterpret the neoclassical design for the 21st century." Though the designers used color to delineate different spaces in the 197,000-square-foot building (the main lobby and two elegant entrance towers feature a beige color scheme, while the side lobbies and main auditorium are celadon green, and the education room is blue), they relied on a single technique to provide unity throughout. "We wanted to provide visual interest by using various shades of color rather than with ornate moldings and cornice work," says Knight. "We created minor steps in the planes of dry wall and painted each step a slightly different shade. At the innermost point, we've used a quarterround bead that is painted the darkest shade." In the spacious Mike Curb Family Music Education Hall, for example, Sherwin-Williams shades of blue progress from the lightest, Upward (SW 6239), to the darkest, Serious Gray (SW 6256). SHERWIN-WILLIAMS Stir PHOTOGRAPHS BY TOM GATLIN CLASSICAL medley Updated tradition Beyond providing visual interest, the steps in the walls and ceilings serve an acoustical purpose in the 1,860-seat Laura Turner Concert Hall, which boasts two noteworthy updates to the traditional performance facility. First, it features a convertible seating system that transforms the orchestra level from tiered seating to a ballroom floor in a matter of hours. And it's one of only a few halls built in recent years that feature natural light, with 30 clerestory windows, five inches thick, that let in sun -- but not outside noise. The wall palette, in shades of beige, green and blue, was custommixed to complement the building's marble wainscoting and floors, as well as the rich cherry and Makore wood in the auditorium. SherwinWilliams ProMar� 200 Latex Paint with an Eg-Shel finish was chosen for its smooth appearance and ease of touch-up. When designing the "back-of-house" spaces, the designers at Hastings Architecture in Nashville played off that palette, modifying it for the space's different functions. And, as in the front of the house, they relied on variations in shade to provide visual interest. "In the artist areas, we went with white walls but played with shades of green for the doors and trim," says Hastings designer Heather Mathias. The trim is Rosemary (SW 6187), while the doors are Austere Gray (SW 6184), both painted with Sherwin-Williams ProClassic� Enamel in a semi-gloss finish, chosen because it delivered the right combination of quality, flow and leveling. In the administrative offices, where the goal was a more corporate feel, the designers used Wool Skein (SW 6148) for the main wall color, created accent walls with Relaxed Khaki (SW 6149) and chose Universal Khaki (SW 6150) for the doors. "We spent a lot of time studying what other halls had done in their back-of-house spaces, and in a lot of cases we found that finishes and color had been ignored," says David Bailey, principal and project manager at Hastings. "It was important to us that the same attention to detail was paid to the back of the house as the front. Color was an important part of that." I THREE-STEP METHOD Choosing colors for a project as grand and multifaceted as the Schermerhorn Symphony Center could be overwhelming. David M. Schwarz and his colleagues suggest the following approach: 1. Based on paint chips, select seven or eight shades and buy one quart of each color. Sherwin-Williams COLOR To GoTM samples in quart-size Twist-n-PourTM containers are ideal for this. Anatomy of a Palette Back-of-house artist areas: SW 6134 Austere Gray SW 6187 Rosemary Back-of-house administrative areas: SW 6148 Wool Skein SW 6149 Relaxed Khaki SW 6150 Universal Khaki Education Center: SW 6239 Upward SW 6240 Windy Blue SW 6241 Aleutian SW 6243 Distance SW 6253 Olympus White SW 6254 Lazy Gray SW 6255 Morning Fog SW 6256 Serious Gray 2. Buy white foam core, cut it into 12-by12-inch panels, and paint each panel a different color. Paint two coats each, no priming necessary, to get an accurate rendering of the color. 3.Tack up the panels in the room and study how each looks in the room's light and with its furniture and flooring. Choose the best. SHERWIN-WILLIAMS S t i r 17 Atlanta's Livable Lifetime Show House presents the new face of universal design ACCESSIBLE Style "We wanted to take away the `handicapped' stigma. It's just good design, for everyone." 18 SHERWIN-WILLIAMS Stir PAINTING A "RUG" A hand-painted vinyl floor cloth, such as the one Anna Marie Hendry created for the Livable Lifetime Show House, offers an ideal way to ensure accessibility while enhancing the look of a room. The vinyl molds itself to the floor, creating a safe and seamless surface, Hendry says. It also gave her freedom as a designer. "You don't have to find the perfect piece. You can create it the way you want it." Here are the steps: > Purchase a 10-by-12-foot piece of vinyl flooring. Use the back as your canvas. > Map out the design by using painter's tape. (Hendry's design was inspired by a wooden block print from India that she found at a flea market and had framed as art for the living room.) > Apply paint tinted in Sherwin-Williams floor enamel. Hendry used Saucy Gold (SW 6370), Torchlight (SW 6374), Monarch (SW 8377) and Interesting Aqua (SW 6220). > "Antique" with one coat of Sherwin-Williams Illusions� Faux Finish Glazing Liquid, tinted brown. TM > Top with two coats of Sherwin-Williams� polyurethane so the cloth can be damp-mopped. B y K I M PA L M E R how houses, with their built-in "wow" factor, often elicit compliments from visitors. But none were more gratifying for designer Anna Marie Hendry, of Classic Interiors by Anna Marie, than the comments she heard at the Livable Lifetime Show House staged in suburban Atlanta earlier this year and sponsored by Sherwin-Williams. A first-of-its-kind showcase for universal design, the house drew a diverse crowd, including many people with physical disabilities. She remembers one visitor, a young man in a wheelchair, who spent a long time on the upstairs balcony overlooking the living room Hendry had designed. "[He] enjoyed the space for about an hour," she recalls. "At the end, he said, `It's been years since I've been to the second story of anyone's home.'" Making spaces accessible to all is the goal of universal design, a movement that is gaining momentum as baby boomers enter their retirement years hoping to "age in place" rather than be forced to enter nursing homes or assisted-living facilities. "More than 80 percent of people over 50 want to live in their homes as long as possible, but most homes are built for able-bodied men," says Sandra McGowen, owner of McGowen Interiors and co-founder of the Universal Design Alliance, which presented the Livable Lifetime house. Building in universal design features is much less expensive than retrofitting them later, she notes. The Livable Lifetime home was the first in the nation to marry universal design with professional interior design. "Most designer Denotes expanded content and images found exclusively on swstir.com. S show houses are strictly for show," Hendry notes, while other examples of universal design have emphasized only accessibility features. "Ours was unique in that we treated it just like a show house and used professional designers," McGowen says. "We wanted to show that universal design can be beautiful and functional, not institutional. We wanted to take away the `handicapped' stigma. It's just good design, for everyone." Surprising ease Hendry, who knew nothing about universal design before attending a seminar as part of the project, said she was surprised at how easy it was to incorporate accessibility features without compromising design. "No one coming in would have thought it was designed to accommodate people with disabilities," she says. Universal design features in the home included an elevator and extra-wide doors and hallways to fit wheelchairs, as well as color-contrasting surfaces to aid the visually impaired; lamps controlled by touch; light switches placed lower on walls so that children and people in wheelchairs can reach them; electrical outlets placed higher to eliminate bending down; and a switch-controlled gas fireplace. Interior walls were painted with Sherwin-Williams Cashmere� Paint (Bagel SW 6114) in a flat enamel finish to minimize light reflection, which can be disorienting for people with impaired vision. Cashmere Interior Latex provides the smoothest finish possible, because it minimizes roller stipple. For the living room, Hendry chose Chippendale-style furniture with high arms so that people with arthritis could easily push themselves out, and a folding screen to absorb sound -- important for people who wear a hearing aid. Rounded corners on furniture and easily grasped drawer pulls also enhanced accessibility. One of the room's focal points was a colorful floor cloth that Hendry painted herself. The cloth fulfilled the universal design mission of lying flat against the wood floor so it's not an obstacle for those using wheelchairs or walkers. "I couldn't use a thick Oriental rug, but I could design something that fit the interior and gave it an Oriental appeal," Hendry says. Similar universal design show houses are now being planned in other cities, McGowen says. "We would like to influence builders and consumers to ask for these features." Make a color splash with your residential, commercial or industrial design projects. We welcome projects that tell a unique color story. Please submit your projects for consideration by e-mail to our managing editor at firstname.lastname@example.com. Include the following information along with sample photos of your project: > Project name > Project location > Brief project description > Color philosophy for project > Sherwin-Williams colors and paint products used > Availability of high-resolution (300 DPI) images SHERWIN-WILLIAMS S t i r 19 G O I N G G R E E N GREENING the envelope New LEED core-and-shell certification pays dividends in Chicago B y A N D R EA G RA Z Z I N I WA LST R O M In 2000, when architects Goettsch Partners were approached to design a 1.5 million-square-foot office building in downtown Chicago, they were tasked with creating a building that would have a positive impact on the developer's bottom line, not one that would reduce impact on the environment. Developers constructing spec office buildings have had little motivation to consider the long-term implications of their methods and materials, typically leaving sustainable design up to the companies that build-out the spaces they lease. Now savvy customers and LEED-CS, a new core-and-shell certification by the U.S. Green Building Council, are giving commercial developers plenty of incentive to help protect the planet. When it was completed in 2005, the Chicago office building at 111 S. Wacker Dr., designed by Goettsch Partners, was the first building to achieve LEED-CS Gold certification. The new certification is awarded to office buildings based on points earned for sustainable design in energy efficiency, access to public transit and building envelope construction. Green features The building boasts a green roof made of hardy grasses, reused caissons and foundation walls, low-flow plumbing, programmable light switches, and low-emissions finish materials -- including Sherwin-Williams no-VOC Harmony� coatings, which were used on the interior. The environmentally sensitive design evolved as the architects and developer John Buck Co. weighed the benefits of it, well before LEED-CS was offered. The developer initially prioritized real estate performance and aesthetic design over sustainability and at first wasn't convinced that tenants would pay a premium for leasing a green building, but according to Goettsch Partners' Matt Larson, the developer nonetheless decided to take a sustainable approach "because it was right." The developer's foresight has paid off. It widely promotes its LEED certification to attract tenants -- including posting a copy of the official certificate at the building's reception desk -- and recently sold the building at one of the highest dollar-per-square-foot prices of any building in Chicago. "I think tenants recognize the importance of the sustainable design," says Larson. Clearly, so do more and more commercial developers and their architectural firms. Since 111 S. Wacker earned its LEED-CS Gold certification, an additional 150 office buildings across the country have followed suit. The "green" momentum is just beginning, says Larson. "What will be great is when everyone simply adopts sustainability as a natural and expected part of the design process." I A green roof made of hardy grasses, and Sherwin-Williams Harmony� zero-VOC paint on interior surfaces, helped the 111 S. Wacker building earn the first LEED-CS Gold Certification. 20 SHERWIN-WILLIAMS Stir PHOTOGRAPH OF 111 S. WACKER BUILDING BY JAMES STEINKAMP F I N A L T O U C H JEWEL OF THE NILE Diamonds are forever, but emeralds were discovered first. The Egyptians were mining the green stones 4,000 years ago, and Cleopatra, who had a large collection, is said to have prized them above all her other treasures. Emeralds continue to be among the most coveted of gemstones, and their color is the most important factor in determining their value. The mineral itself, a variety of beryl, is white in its pure state, but when small amounts of chromium impurities are present, the mineral takes on its signature hue. The most valuable emeralds are a bright, pure green, with only a hint of blue or yellow. Pale stones aren't considered emeralds at all, but green beryl. s M E E T E X P E C T A T I O N S W I T H O U T C O M P R O M I S E . You can rely on Sherwin-Williams to help you meet your green coating specifications and satisfy all your quality expectations. We've developed the GreenSureTM symbol to help you identify environmentally preferable products that deliver maximum performance. Look for GreenSure on Harmony and Duration TM Home. Both of these innovative coatings meet our highest standards for air quality, VOC emissions, life cycle cost efficiency, durability, color, and coverage. To learn more, visit your nearest Sherwin-Williams store, see your Architectural Account Executive or call our Architect & Designer Answerline at 1-800-321-8194. �2006 The Sherwin-Williams Company www.sher win-williams.com Sherwin-Williams 400 1st Ave. N., Ste. 200 Minneapolis, MN 55401 PRSTD STD US Postage PAID Cenveo


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Timken (TKR) Marked As A Dead Cat Bounce Stock
Timken (TKR) as a "dead cat bounce" (down big yesterday but up big today) candidate. In addition to specific proprietary factors, Trade-Ideas identified Timken as such a stock due to the following factors:Editor's Note: Any reference to TheStreet Ratings and its underlying recommendation does not reflect the opinion of TheStreet, Inc. or any of its contributors including Jim Cramer or Stephanie Link. Trade-Ideas LLC identified
- TKR has an average dollar-volume (as measured by average daily share volume multiplied by share price) of $60.2 million.
- TKR has traded 1.1 million shares today.
- TKR is up 3% today.
- TKR's revenue growth has slightly outpaced the industry average of 6.5%. Since the same quarter one year prior, revenues slightly increased by 1.3%. Growth in the company's revenue appears to have helped boost the earnings per share.
- The stock has risen over the past year as investors have generally rewarded the company for its earnings growth and other positive factors like the ones we have cited in this report. Turning our attention to the future direction of the stock, it goes without saying that even the best stocks can fall in an overall down market. However, in any other environment, this stock still has good upside potential despite the fact that it has already risen in the past year.
- Net operating cash flow has significantly increased by 211.97% to $40.20 million when compared to the same quarter last year. In addition, TIMKEN CO has also vastly surpassed the industry average cash flow growth rate of -3.88%.
- TIMKEN CO has improved earnings per share by 16.9% in the most recent quarter compared to the same quarter a year ago. This company has reported somewhat volatile earnings recently. But, we feel it is poised for EPS growth in the coming year. During the past fiscal year, TIMKEN CO reported lower earnings of $2.72 versus $5.05 in the prior year. This year, the market expects an improvement in earnings ($3.83 versus $2.72).
- The net income growth from the same quarter one year ago has exceeded that of the Machinery industry average, but is less than that of the S&P 500. The net income increased by 11.2% when compared to the same quarter one year prior, going from $75.10 million to $83.50 million.
- You can view the full Timken Ratings Report.
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Pepper's® Domino Polarized Sunglasses. You'll like the way you look... no bones about it!
Now THIS is what you've been looking for! Pepper's® Domino Polarized Sunglasses have the sleek style you want, the high-end performance lenses you need and the affordability for which you've been searching. At this price, you can buy several pairs for less than the cost of one pair of designer shades!
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"Latest Football Craze Invades Summer Jam IV In Anaheim On June 19th"
LAS VEGAS—While some of the nation's top high school players gather for the nation's largest tackle football tournament on June 19th- 22nd, another growing phenomenon in the college football recruiting world will be present. For the first time in Summer Jam's four-year history, 7-on-7 football will transpire simultaneously across their 12 different playing fields at Ayala Sports Park.
Summer Jam Founder, Tammy Waldron, added 7-on-7 to the tournament to help provide another outlet to build exposure and compete against all-stars in other states. "The interest in 7-on-7 football has grown enormously in popularity over the past few years and we're proud to provide a new platform for our football community to showcase their skill-set," stated Waldron.
In the 7-on-7 format, seven offensive players line up against seven defensive players. Offenses have a center, a quarterback and any combination of running backs, tight ends and wide receivers to yield five eligible receivers. Defenses have two or three linebackers and four or five defensive backs. It asks players to read and react quickly to situations.
It has become another way for recruits to accumulate film during the offseason to send out to schools, according to Ascending 2 Greatness (A2G) CEO Edward Senatus. "Players have generated tremendous amounts of buzz from their 7-on-7 performances. Through media accounts and word of mouth, college coaches keep track of who has performed well and who has improved through the 7-on-7 season."
Senatus will help coordinate the 7-on-7 Summer Jam Event, along with A2G Director of Operations and NFL Draft Bible Founder Ric Serritella, who brings his 13 years of experience as a pro football scout to the event.
"This is another way to compete and get to the next level. College coaches are taking these types of competitions very seriously." Serritella stated. "The film accumulated from this event will be extended to our network of NCAA universities and our evaluation notes will be made readily available from our scouts on hand."
Embracing 7-on-7 allows the fans of the No. 1 spectator sport in the world get a taste of their favorite sport year-round. College coaches get a better opportunity to evaluate and recruit. High school coaches start the season with better-prepared athletes. Athletes have the opportunity to improve their skills and get more college looks. Spots are limited, make sure to reserve your team now at: www.WestCoastTournaments.com.
About Ascending 2 Greatness Inc.: Ascending 2 Greatness Inc. is a community based nonprofit organization providing mentoring, tutoring and elite sports development programs for youth student-athletes across the nation. Our mentorship programs foster a sense of community, while inspiring, educating and enhancing the lives of young athletes. Players will receive coaching from current and former NFL players and coaches. Get evaluated from pro scouts. Every athlete who participates in any Ascending 2 Greatness Inc. camp will increase their visibility with our player-rating database used by high schools and colleges for recruiting purposes. Take your game to the next level with speed and agility techniques that will help you Ascend 2 Greatness! To get started log-on to: www.A2Gsports.com.


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Competition Authority Refuses Acquisition of Port Moresby Aviation Business
HOUSTON and CAIRNS, Australia, Oct. 16 /PRNewswire-FirstCall/ — InterOil Corporation (NYSE: IOC) (POMSoX:IOC), today announced it has received notification from Papua New Guinea's competition authority advising that the application by InterOil's subsidiary for authorisation of the purchase of Shell Oil Products (PNG) Limited, the owner and operator of an aviation fuelling business located at the Jackson International Airport, in Port Moresby, Papua New Guinea announced on July 22nd 2009, has not been approved. The refusal to authorise the transaction was based on the authority's view that it could have the effect of substantially lessening competition in the relevant market. InterOil intends to explore alternative structures and means by which to deal with the authority's concerns.
"We will continue to explore alternative means by which to grow and improve our aviation business in Papua New Guinea, while continuing to monitor other acquisition opportunities in the region," said Mr. Phil Mulacek, CEO and Chairman of InterOil.
InterOil Corporation is developing a vertically integrated energy business whose primary focus is Papua New Guinea and the surrounding region. InterOil's assets consist of petroleum licenses covering about 4.6 million acres, an oil refinery, and retail and commercial distribution facilities, all located in Papua New Guinea. In addition, InterOil is a shareholder in a joint venture established to construct an LNG plant on a site adjacent to InterOil's refinery in Port Moresby, Papua New Guinea. The Company is headquartered in Cairns, Australia and has offices in Houston, Texas, Port Moresby, Papua New Guinea and Singapore. InterOil's common shares trade on the NYSE in US dollars.
FOR INVESTOR RELATIONS ENQUIRIES: Wayne Andrews Anesti Dermedgoglou V.P. Capital Markets V.P. Investor Relations (Australasia) email@example.com firstname.lastname@example.com The Woodlands, TX USA Cairns Qld, Australia Phone: 281-292-1800 Phone: +61 7 4046 4600
SOURCE InterOil Corporation


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Cabin in the Sky, 1776, and Do I Hear a Waltz? will come to City Center's Tony-honored musical theater series next year.
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Jonathan Groff comes to Encores! Off-Center this June to star in William Finn's zany, big-hearted musical about a medical tragedy.
Andrew Lippa's musical follows Jazz Age party girl Queenie (Sutton Foster) over the course of one decadent, booze-soaked night.
Get free City Center membership for one year as part of the IDNYC program! Sign up now for access to dress rehearsals, presales, and special offers.


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Roger Marino
|Roger M. Marino
|Revere, Massachusetts
|Alma mater
|Northeastern University
|Engineer, businessman
|Known for
|Co-founder of EMC Corporation
|Net worth
|$1.2 billion
|President of EMC Corporation
Board member of
|Northeastern University Board of Trustees
Roger M. Marino is a retired American engineer, businessman, and co-founder of EMC Corporation. His substantial contribution to Northeastern University funded their world class athletic center, which has been named in Marino's honor.
|This section has been nominated to be checked for its neutrality. (January 2014)
Corporate career[edit]
Roger M. Marino graduated from Northeastern University in 1961. In 1979 Marino founded the high technology design and manufacturing company EMC Corporation with his former Northeastern roommate, Richard Egan. He served as the company's president until he retired from the position in 1992. EMC Corporation entered the Fortune 500 Companies list in 1994.[1] Since his retirement, Marino has been active in funding a number of start-up companies. In 2001 Mr. Marino founded the film production company Revere Pictures. Marino currently serves as a director of TechTarget, Incorporated. [2]
Sports investments[edit]
In 1997 Roger Marino purchased a 100% stake in the Pittsburgh Penguins NHL team for the price of 40 million dollars. Roger transferred ownership 4 years later. Marino has expressed a strong interest in an ownership stake in the Boston Red Sox, but has yet to make the investment.[3]
Net worth[edit]
In its 2000 list of the Forbes 400, Marino was ranked as the 236th richest American, with a net worth of approximately $1.2 billion.[4]
- ^ "EMC Corporation Milestones".
- ^ "Forbes Profile on Roger M Marino".
- ^ "Forbes Faces: Roger Marino". 13 December 2000.
- ^ "Forbes 400: Roger M Marino".
External links[edit]
|This article about a United States businessperson is a stub. You can help Wikipedia by expanding it.


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A big thunderstorm drenched the outfield and brought an abrupt end to the pulsating Champions League T20 contest between Trinidad & Tobago and Titans at Motera on Monday.
With the livewire A.B. de Villiers in terrific form, the Titans would have fancied its chances. But the grim situation forced the umpires to award four points to T&T because it was ahead of its opponent by the Duckworth-Lewis calculations. For the second time in seven days, a goodly crowd in excess of 10,000 returned home disappointed.
Titans, asked to chase 159, fell short by six runs. T&T had in fact scored 162 at the conclusion of the 17th bowled by fast bowler Morne Morkel.
With a superior net run rate T&T moved to the second spot behind Chennai Super Kings (CSK). All it has to do now is to protect its net run rate against CSK at Delhi on Wednesday in order to make the semifinals.
The second match between Sunrisers Hyderabad and Brisbane Heat was called off at 9 p.m. This outcome enabled Sunrisers gain two points and move to six and the Australian side opened its account (2).
Bright start
Chasing 189 at a stiff 9.45 runs an over, the South Africans appeared to be on course with skipper Henry Davids making a big impact in a bright opening stand that even compelled Denesh Ramdin to introduce the tricky off spinner Sunil Narine in the Power-Play overs.
After falling to seamer Rayad Emrit, the Titans skipper changed his batting line-up, asking de Villiers to bat at No. 5.
But the T&T skipper brought back Narine for a second spell, and he reduced the Titans to 137 for six. But de Villiers hammered two fours and a six, the predicted thunderstorm took over and the teams staged a hasty retreat to the pavilion.
After a seemingly eternal wait caused by constant rainfall last week, the CLT20 competition announced itself here with an electrifying knock from a little known Trindadian Evin Lewis and a charming and crafty undertaking from Darren Bravo.
Riding on their explosive 109 run stand for the second wicket that mirrored plenty of Caribbean panache, T & T raced towards an impressive score with 13 sixes and with Narine providing a roaring finish with a straight six off Marchant de Lange.
Keen and eager to show off his gifts, Lewis first lashed out at Morkel with a front foot slash for a six and then cut loose against the rest.
Trinidad & Tobago: Lendl Simmons b de Lange 0 (7b), Evin Lewis c Richards b van der Merwe 70 (35b, 7x4, 5x6), Darren Bravo b de Lange 63 (44b, 5x4, 4x6), Nicolas Pooran c van der Merwe b Davids 11 (10b, 1x6), Navin Stewart c Mosehle b de Lange 23 (15b, 1x4, 2x6), Denesh Ramdin c Mosehle b Morkel 6 (4b, 1x4), Sunil Narine (not out) 8 (3b,1x6), Jason Mohammad (not out) 1(2b); Extras (lb-1,w-5): 6; Total (for six wkts. in 20 overs): 188.
Fall of wickets: 1-4 (Simmons), 2-113 (Lewis), 3-145 (Pooran), 4-164 (Bravo), 5-171 (Ramdin), 6-179 (Stewart)
Titans bowling: Morkel 4-1-29-1, de Lange 4-0-38-3, Richards 2-0-26-0, Wiese 3-0-26-0, Davids 3-0-31-1, Behardien 1-0-12-0, van der Merwe 3-0-25-1.
Titans: Henry Davids b Emrit 42 (22b, 4x4, 2x6), Jacques Rudolph c Emrit b Simmons 31 (28b, 4x4), Heino Kuhn c Lewis b Badree 7 (8b), Roelof van der Merwe c Bravo b Simmons 4 (5b), A.B. de Villiers (not out) 23 (13b, 2x4s, 1x6), Farhaan Behardien c Lewis b Narine 29 (18b, 3x4), David Wiese c Badree b Narine 0 (2b), Mangaliso Mosehle (not out) 11 (5b, 2x4); Extras (lb-2, nb-1,w-3): 6; Total (for six wkts. in 17 overs): 153.
Fall of wickets: 1-65 (Davids), 2-79 (Kuhn), 3-88 (Rudolph), 4-88 (van der Merwe), 5-137 (Behardien), 6-137 (Wiese).
Trinidad & Tobago bowling: Rampaul 3-0-31-0, Badree 3-0-33-1, Narine 4-0-23-2, Emrit 3-0-31-1, Stewart 1-0-15-0, Simmons 3-0-18-2.
Man-of-the-match: Evin Lewis.
Trinidad & Tobago won by 6 runs (D/L method).
Keywords: Trinidad and Tobago, Titans, 2013 CLT20